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MOTION PICTURES 
FOR INSTRUCTION 



1 



Courtesy of American Motion Pictures Corp. 

Lincoln, from "The Son of Democracy" — p. 53 



I 

ZEbe Centura BCmcatton Series 

MOTION PICTURES 
FOR INSTRUCTION 

BY 

A. P. HOLLIS, M. S. 

ill 

Film Editor - DeVry Corporation 




NEW YORK 
THE CENTURY CO. 



Copyright, 1926, by 
The Century Co. 



PRINTED IN U. S. A. 



DEC1G'26 



© Cl A9576S8 



TO MY WIFE 

MABEL MacDONALD HOLLIS, 
HELPFUL COMPANION OF EVERY LABOR 



PREFACE 



The Growth of Visual Education 

In 1924, Nelson L. Greene, Editor of the Educational 
Screen, estimated the number of non-theatrical motion 
picture machines at 15,000. In that same year the 
National Education Association established a de- 
partment of Visual Education, and The Commonwealth 
Fund conducted an elaborate series of experiments in 
Visual Education (reported in Professor Freeman's 
volume, Visual Education, Chicago University Press). 
The U. S. Bureau of Education has published a further 
investigation in the universities, colleges, state depart- 
ments, normal schools and cities to discover the type 
of organization and methods employed in visual edu- 
cation departments (Visual Educational Departments 
in Educational Institutions, Hollis). This study and 
one conducted by F. Dean McClusky of Purdue Uni- 
versity, and also a list by J. V. Ankeney, secretary of 
the National Academy of Visual Instruction reveal 
that forty universities, normal schools, etc., have an 
organized department of visual education for the dis- 
tribution of films, slides and other visual aids, many 
of which also offer courses in visual education, with 
college credit, and that fifty cities maintain depart- 
ments of visual education ; that the Educational Screen 
(which has absorbed the magazine formerly called, 

•vii 



viii 



PREFACE 



Visual Education and is now the recognized organ of 
the visual education movement) in its booklet, "1001 
Films," lists nearly 3000 motion pictures for non- 
theatrical use; that the U. S. Government, through 
various departments, has produced for educational use 
some 250 film subjects, running into two or three times 
as many reels; that the Ford Motor Company, Inter- 
national Harvester Company, General Electric and 
similar firms have produced another thousand reels 
of an educational nature; that numerous health and 
welfare organizations have added several hundred 
more; that non-theatrical motion picture companies 
like Urban-Kineto, Burton Holmes Laboratories, Gen- 
eral Vision, American Motion Pictures Corporation, 
and the Yale University Press Film Service have cre- 
ated a considerable library of educational films; and 
that even the theatrical motion picture producers have 
put at the disposal of the schools and churches, a con- 
siderable group of feature films, scenics and science 
films which have educational value. 

Where to Get Classroom Films and How to Use Them 

for Teaching 

Despite this very considerable production and use, 
there is an urgent demand by school people today for 
information on where to get suitable films to accom- 
pany their regular classroom work, and how to use 
these films so as to produce real educational results. 
The mass of production cited above is not organized 
into any one volume embracing both the sources and 
the pedagogy of educational films. The present book 



PREFACE 



ix 



aims to meet this need. It lists and describes some 
1,500 educational films, arranges 120 of these into 
three different libraries for courses of study, and pre- 
sents a series of actual film lessons, showing the 
methods of presentation and follow-up work used by 
many different educators. Important studies in film 
pedagogy are discussed, an attempt is made to dis- 
criminate between valid and exaggerated claims for 
this new educational tool, and the latest statistics of 
the movement are gathered for convenient reference. 
A bibliography lists the important literature of the 
subject. 

Visual Education and Experimental Psychology 

Visual educationists are not primarily psychologists 
nor physiologists. They have produced nothing new 
in the psychology of vision, but have concerned them- 
selves with the organization and use of visual stimuli 
adapted to education. The research laboratories in 
experimental psychology and the physiology of the 
senses are common sources to which all can go for the 
technical data of vision. Specialists like Wundt, Hum- 
boldt, and Miinsterberg have made substantial con- 
tributions to our knowledge of vision, and the curious 
reader is referred to their works for the psycho- 
physiological facts of this important sense. 

The "87%" Myth 

Writers in visual education who have been tempted 
to use figures giving the percentages of our knowl- 
edge gained through the different senses have found 



X 



PREFACE 



themselves embarrassed when exact sources and quo- 
tations were demanded. Eeliable laboratory data on 
such facts have not been reduced to such exact form. 

Five years ago the author attempted to run down a 
statement which had been much used by commercial 
moving picture interests and quoted by educators. 
One magazine ran a diagram divided like a pie show- 
ing that psychologists agreed that 87% of our knowl- 
edge was gained through the sense of sight. The 
author determined to trace the psychologists who had 
agreed. He wrote the editor for their names. The 
editor didn't know any, but referred to a prominent 
business man, who had made the statement; the busi- 
ness man said he didn't know the psychologists, but 
he heard a preacher state it in a sermon. 

Educators have taken the educational value of visual 
data for granted for many years, and the classroom is 
full of blackboards, maps, pictures printed on paper, 
or enlarged and projected by lenses. The tremendous 
vogue of the moving picture and the new emphasis it 
has given picture language, has impelled educators to 
bring films and slides into the schools. But the motion 
picture, especially, involved the use of unfamiliar and 
costly machines, and films required a technical knowl- 
edge of storage, patching and shipping. 

Film Pedagogy, an Unknown Quantity 

There had been no pedagogical study of the motion 
picture. Volumes had been written of it as an art, 
and as a commercialized amusement. But as a school- 
room performer, its operation and effects were un- 



PREFACE xi 

known. It was, therefore, a logical step to create 
special school officers to handle the new aids, and spe- 
cial societies to discuss them. Experimental studies 
were instituted by teachers, with parallel classes of 
children. A systematic search developed for really 
educational films, and the attempt was made to estab- 
lish standards. Interesting data on these pedagogical 
aspects of the film have accumulated in a relatively 
short time. It is the purpose of this book to bring to 
the attention of the teachers generally, the constructive 
methods that have been worked out in teaching film 
lessons to children, and to select and arrange in con- 
venient "libraries" according to school subjects, the 
best of the educational films available. 



EDITOR'S INTRODUCTION 



The great place which the moving picture has se- 
cured in the life of the world has resulted in innumer- 
able discussions of its importance in connection with 
education. When millions of people are viewing mov- 
ing pictures every day of the year there must be 
serious effects of an educational character whether the 
films which they are seeing are good, bad or indifferent. 
The wide spread of moving pictures including almost 
all conceivable subjects, has inevitably resulted in the 
production of many which have, distinguishable from 
those whose purpose of observation is purely for 
amusement and relaxation, definite educational values. 

For some time the problem of how to make use of 
moving pictures in connection with a definite curricu- 
lum of study has been under consideration by the edu- 
cational profession. Tentative experiments looking 
towards their incorporation as a part of the procedure 
of the school have been made in many school systems. 
Here and there generous appropriations for the organ- 
izing and maintaining of departments of visual educa- 
tion which make large use of the moving picture have 
been secured. The city school superintendents have 
shown a very open mind towards the whole problem 
and in many cases have evidenced their real enthusi- 
asm in efforts looking towards a more serious and 

xiii 



xiv EDITOR'S INTRODUCTION 

scientific use of this instrument of learning in their 
school system. 

It was inevitable, however, on account of the mush- 
room-like rapidity with which this new industry has 
developed, that the problem of selecting and securing 
suitable films became serious. Many films advertised 
as educational, upon examinations seemed to be utterly 
unsuited in every way to use in public schools. Not 
infrequently superintendents have become discouraged 
after spending, to them, rather large sums of money 
by finding that much of this expenditure had been 
wasted. 

On the other hand, during this same period, on ac- 
count of a steadily increasing seriousness on the part 
of many moving picture producers, there has been a 
steady accumulation of films of genuine educational 
merit which when properly analyzed may be utilized in 
public school systems to the finest advantage. The 
question as to the practicability of seriously incorpor- 
ating the motion picture into formal educational work 
became sufficiently important to justify the granting 
by the educational committee of the Commonwealth 
Fund of a sum of money to be used for the purpose of 
making a scientific study of educational motion pic- 
tures. The results of this study, while tending to 
overthrow some of the claims made by the more en- 
thusiastic advocates of the moving picture in educa- 
tion, confirmed a growing conviction of editors that, 
properly used, many films could constitute a most in- 
valuable supplement to other more conventional types 
of learning. The realization that an immense body of 
suitable visual educational material was available with- 



EDITOR'S INTRODUCTION xv 

out it being within the power of the ordinary superin- 
tendent to know just how to go about the proper selec- 
tion of this material, and the scientific determination 
of the very real educational value of suitable educa- 
tional films, has led the author to prepare this volume. 
He has undertaken in addition to a consideration of 
the value of the motion picture film as a teaching in- 
strument, to organize as comprehensive a list as possi- 
ble of the various films which may be secured either 
by purchase or rental. These lists of films are pre- 
pared in such a way that some notion as to their 
availability can be secured although the number of 
the films listed is so great that any estimate or critical 
description has been impracticable. It is our belief 
that school superintendents throughout the country 
will find this an invaluable hand book and that through 
its study and use the effectiveness of the motion picture 
as an educational agency may be greatly increased. 
Without any question each year will witness an in- 
creasing use in our public schools of films. Without 
proper guidance great waste of money and pupils' 
time may result. With a careful, intelligent guidance 
on the part of those responsible for the selection of 
films and their proper correlation with the other or- 
ganized activities of the school, w 7 e will see a real step 
forward in educational efficiency. 

C. E. Chadsey 



CONTENTS 



PART I 

THE MOTION PICTURE FILM AS A TEACHING 



INSTRUMENT 

CHAPTER PAGE 

I Educational Films — Types and Uses ... 3 

II Three Film Libraries for the Course op Study 20 

III Descriptive List of Films in the Libraries . . 37 

IV Analysis of the Film Libraries by Subjects of 

Study 68 

V Six Sample Film Lessons ....... 85 

VI A Tentative Plan for a Motion Picture Lesson 146 
VII Three Important Studies on the L t se of Educa- 
tional Films 162 

VIII A Score Card for Judging Values of Informa- 
tional Pictures 197 

IX State and City Centers of Distribution of 

Educational Films ........ 208 

X The Future of Educational Films .... 220 



PART II 

COMPREHENSIVE LIST OF EDUCATIONAL FILMS 
(With Descriptive Notes) 



1. Free Films . 260 

2. Rental Films 324 

3. Purchase Films 407 

Bibliography 433 

Appendix ; . 439 

Index 443 



xrii 



ILLUSTRATIONS 



Lincoln — From the Son of Democracy Frontispiece 

Facing Page 

Scene from "Nanook of the North" 4 

Igloo in "Nanook of the North" 4 

The Same Pictures shown on both widths of film (exact 

sizes 13 

Scene from "Eve of the Revolution," in the Yale Chronicles 

of America Photoplays 36 

Scene from "Dixie," in the Yale Chronicles of America 

Photoplays 36 

Still from "Our Children" a film produced by U S. Children's 

Bureau 45 

Scene of Outdoor Storage at Darien Port, Manchuria, 

from "Thru the Open Door of Manchuria" 52 

This ant is upholding 3,000,000 times its own weight . . 61 

Two scenes from "Our Six-Legged Friend" 61 

Scenes from "Manufacture of ARMCO Ingot Iron" .... 64 

Scenes from "Conquest of the Forest" 68 

Scene from "A Woolen Yarn" 77 

Scene from "Milk as Food" 99 

Dr. J. J. Weber, Author of "Comparative Effectiveness of 

Visual Aids" 164 

Professor Frank N. Freeman, University of Chicago . . . 173 

Scene from "Yellowstone National Park" 213 

Charter Members National Academy of Visual Instruction 

at University of Wisconsin . 220 

W. H. Dudley, Chief of Bureau of Visual Instruction, 

University of Wisconsin 220 

Motion Picture Studio, U. S. Department of Agriculture . 228 
The dance at the husking bee — Scene from "The Corn-Belt 

Derby," U. S. Department of Agriculture 237 

Scene from "Saddle Journey in the Clouds," Castle Films . 260 
Camera man of the Canadian Government Motion Picture 

Bureau preparing to take scenes for the film "In the 

Wake of Captain Cook" 269 



Facing Page 



pulling cable ashore at havana — scene from "making 

Telephone History" 308 

A Weather Bureau meteorologist making a "dust count" 
from a dirigible balloon, as shown in the U. S. Depart- 
ment of Agriculture film, "Exploring the Upper Air" 317 

Scene from "The Covered Wagon," Famous Players -Las ky 

Corporation 376 

The 17-year locust — Scene from D it mar's Living Natural 

History 418 

Beavers — Scene from Ditmar's Living Natural History . . 418 

Art Title from the De Vry film — "American Indians and 

Their Ancestors" 422 

Scene from "Regional Geography" (Grand Canyon of the 

Colorado) . 427 

The Antlers of the Elk are shed each Spring — Scene from 

Ditmar's Living Natural History 427 

Camera Men of the Canadian Government Motion Picture 

Bureau, Ottawa, Canada 431 

A veritable "slow motion" picture of a glacier "In Action" 
— Scene from "Leaves from a Ranger's Notebook," 
Motion Picture Bureau on Canadian Government . . 431 

A fishing drama 436 



PART I 



THE MOTION PICTURE FILM AS A 
TEACHING INSTRUMENT 



MOTION PICTURES FOR 
INSTRUCTION 

CHAPTER I 
EDUCATIONAL FILMS— TYPES AND USES 

Terminology 

What is meant by the term Educational Film? 

It is not strange that so new a product suffers some 
confusion in nomenclature. In theatrical circles all 
short subjects, as distinguished from dramatic fea- 
tures, are frequently called "educationals." Come- 
dies are excepted. But scenics, news weeklies of what- 
ever description, novelty reels, and advertising reels 
are all included. 

An annoying instance of the loose use of the word, 
"educational," was referred to in a recent issue of the 
Educational Screen: 

THAT WORD "EDUCATIONAL" 

Carl Sandburg, the distinguished motion picture reviewer for the 
Chicago Daily News, in the course of some remarks on an "educa- 
tional comedy/' deplores the fact that the Educational Film Ex- 
changes, Inc. exploits the term "educational" for comedies and 
short subjects that have no claim to the adjective. 

Mr. Sandburg said something. The name "Educational" has long 

3 



4 MOTION PICTURES FOR INSTRUCTION 

since ceased to be a descriptive term for the typical productions of 
that excellent company. The name has been a thorn in the flesh of 
the non-theatrical world for several years. We should think it 
would be similarly annoying to theatrical exhibitors, and especially 
to their audiences at seeing these pleasant absurdities on the screen 
bearing the familiar legend — 

EDUCATIONAL PICTURES 

"The Spice of the Program" 

All "Edueationals," in the accepted meaning of the term, suffer 
from this burlesque — and the whole field is kept busy explaining to 
disappointed schools and churches the unfortunate implications of 
the name. The Educational Film Exchanges, Inc. should either 
change their name or their product. 

In practice, things are named from their dominant 
purpose or use. It is obvious that nearly every theat- 
rical motion picture will convey information of some 
sort about life and customs, but we do not, therefore, 
call a Mae Murray film educational. Those films 
should be included in the term "Educational," that are 
predominantly educational. "Nanook of the North," 
a theatrical film, is nevertheless one of the best of the 
educationals ; most scenics and industrials might be 
permitted to bear the label. These can properly be 
called "general educationals." Where the educa- 
tional film is designed for purely instructional pur- 
poses and is made by educators for educators, the 
term "classroom film" or "text film" has been sug- 
gested. The word "text," however, is not to be un- 
derstood as implying that the film is designed to take 
the place of a textbook, but only as an illustration to 
the textbook — a moving picture supplement to the text. 
Neither the textbook nor the text film is of much value 



EDUCATIONAL FILMS— TYPES AND USES 5 



unless the teacher is present to see that they are prop- 
erly presented and used — and that the critical follow- 
up work takes place. 

Examples of the modern text or classroom film are 
Bray's "Elements of the Automobile' 1 (12 reels); 
"Secrets of Life" Series, Tolhurst; Ditmar's "Living 
Natural History"; "How Life Begins" — microscopic 
studies by Charles F. Herm; Wythe's "Citizens in the 
Making"; and the series of technical films on anatomy 
produced at the University of "Wisconsin. A large 
list of such films is given in Part II, Comprehensive 
List of Educational Films (with descriptive notes). 

The term "Propaganda Film" embraces a large 
group of educational films designed to aid some 
"cause" or business, and constructed to appeal to pop- 
ular audiences. The term and the product sprang 
into prominent use during the war. Most of the Gov- 
ernment war films were of this character ; also some of 
the Department of Agriculture films, but many of these 
are of such scientific and pedagogical value as to de- 
serve classification among the text films. The Na- 
tional Health Council, the American Eed Cross, 
Y. W. C. A., Boy Scout, International Harvester Com- 
pany, General Electric Company and hundreds of ad- 
vertising reels come under this classification. Such 
films vary greatly in pedagogical value, and need close 
inspection prior to use in the classroom. 

Text Films to Accompany Textbooks 

This book has one advantage in the field of visual 
education. It has set out a clear field for itself. It 



6 



MOTION PICTURES FOR INSTRUCTION 



deals with films alone — not with slides, stereographs, 
press pictures, museum exhibits, or projection ma- 
chines. And among the films it limits itself, with few 
exceptions, to classroom or text films in the Film Li- 
braries, arranged to illustrate the course of study.* 
Semi-dramatic productions, and miscellaneous films 
combined in "programs" for the school assembly, to 
be shown to masses of children of varying grades as- 
sembled for the purpose — on special occasions or for 
the "auditorium period" in schools under the platoon 
system — are both too long and too varied in character 
for serious classroom study conducted under the rigid 
requirements of the daily time schedules. 

The "Assembly Room" Type of Film 

It was natural that films, at first, drifted out from 
the theatres into the schools ; and this type of general 
educational, semi-entertainment film program is still 
of value on occasion. But such occasions are not the 
subject matter of this book. The films discussed here 
are the every day, informational type of films for 
classroom use, having much the same functions as the 
illustrations in the textbook, with the added action, 
size, color, illumination and intensity which the screen 
image has over the book picture. On the one hand, the 

* Bulletin 8 (1924) by the author, U. S. Bureau of Education, page 
27, suggests the following classifications for films used in educational 
institutions : 

( 1 ) "Text films," meaning those used to definitely illustrate the text 
in class instruction; 

(2) "General education," when the material is fairly educational, 
but not used specifically for a class topic; and 

(3) "Entertainment," where that is the obvious use and purpose. 



EDUCATIONAL FILMS— TYPES AND USES 7 



text film does more than the illustration in a book, 
as it compels attention to pictures and the text relating 
to it, in a manner impossible to books. On the other 
hand, it cannot be so easily and repeatedly consulted 
as the textbook picture. 

Trivial Use of Pictures 

Miss Edith Putnam Parker and Mr. Barrows have 
called attention in a new geographical series (Silver, 
Burdett & Co.) to the almost trivial use that is usually 
made of pictures in a text. The pictures in a text are 
not studied ; they are glanced at, and almost instantly 
abandoned for the real study material in the text itself. 
Whereas Miss Parker and Mr. Barrows have shown 
that the picture is as much a proper subject of serious 
study as the text. It should be accompanied with di- 
rections, notes, questions and "layout" commensurate 
with its importance. 

The picture has undoubtedly gained a new impor- 
tance generally from the motion picture version; and 
though the frequent banalities of the theatre screen 
cast some doubt on the importance of pictures to the 
mental life, we know this is not the fault of the 
medium, but of the box office. 

Three Film Libraries for the Curriculum 

In Chapter II, three short film libraries using class- 
room or text films are outlined for use with a typical 
American school course of study. They are the re- 
sults of years of investigation and trial. Most of the 



8 MOTION PICTURES FOR INSTRUCTION 



films have been tested by the author ; others have been 
selected on the recommendation of educators on whose 
judgment he relies. 

They are put down in this outline form for the sake 
of definiteness, and to make it easy for school people 
who have little time to study the question to go ahead 
and make a start, feeling sure that somebody else has 
made a careful and practical study for them. 

The Film Libraries Only Suggestive 

But from every other standpoint, the film libraries 
can be taken only as suggestive — only as nuclei, from 
which each school system may create its own film 
course, either at first, or after a year's trial of the out- 
line. It is obvious, for instance, that the various free 
and rental films given as substitutes for the regular 
numbers, may be so used, or they may be used in ad- 
dition to the regular reels, thus doubling or trebling 
the number of reels in the various courses. Or reels 
may be freely chosen from the Comprehensive List of 
Educational Films (Part II), as practically all of these 
are suited for classroom use, many of them equal or 
superior to those in the outline.* To cite all the rea- 
sons why this or that film was finally included in the 
regular outline would be tedious and unnecessary. 
Matters of cost, availability and knowledge of particu- 
lar films were usually involved. 

* Except most of those given in Part II under Literature, which are 
frequently too long and dramatic for classroom use, and are listed 
mainly for reference for those teachers who want to know the films 
that use standard literary works as backgrounds. 



EDUCATIONAL FILMS— TYPES AND USES 9 



Moreover, because city courses of study are not uni- 
form as to the year in which particular subjects and 
topics are taken, each teacher or supervisor will have 
to switch the films somewhat to suit the degree of 
divergence from the typical course followed in the 
outline. Many of the films can be used in grades not 
specified, where the teacher is careful to select the ap- 
propriate scenes, and to fit her recitation plan to the 
grade in question. 

Film Libraries for Varying Pocketbooks 

A real effort has been made to suit the pocketbooks 
of small systems that have but little money to invest in 
films, but would still like to get a start at visual in- 
struction. Both free and rental reels are suggested 
as substitutes for purchase reels, and where rental 
reels are written into the course, free reels are fre- 
quently offered as substitutes. 

These substitutes, however, are suggested as only a 
temporary expedient. If the means are available for 
getting the purchase and rental films of the libraries, 
school systems should take them as they are, without 
substitutes, as most of the library films are supplied by 
the producers with synopses and teachers' notes, and 
the films written into the outline usually represent a 
better correlation with the school course of study than 
do the substitutes. 

Most small systems starting the work will find that 
the Eighty Reel Unit, or two films per week, will an- 
swer their needs for the first year. The Forty Reel 



10 MOTION PICTURES FOB INSTRUCTION 

Library contains an average of only one per week for 
the school year, the Eighty Reel Library, two per week, 
and the One Hundred and Twenty Reel Library, three 
per week. 

While from the standpoint of small towns these may 
seem like a large number, it should be remembered that 
this number provides only about a half dozen reels for 
a grade during the year. But if this should appear 
too inadequate a service, reflect that the class should 
nearly always see each film more than once, and that 
other grades than the ones set down may see the film 
to good advantage at the time it is in the building, if 
it contains material relating to their lessons. Large 
cities that already have generous budgets for visual in- 
struction, and, therefore, film libraries of hundreds of 
subjects will find the number of films indicated here 
quite inadequate for their purpose, but even so, the 
particular films listed may prove suggestive. The 
film practices of some of the larger cities are described 
at some length in Chapter VIII. 

In fact, free and rental reels will have to be arranged 
for several days' use, so as to allow for second show- 
ings and also to complete the circuit of the other 
schools in the system, that are at or near the same 
topic in the curriculum ; the purchase reels can be used 
whenever and wherever they are wanted — which em- 
phasizes the real advantage of each school system 
gradually acquiring a film library of its own. 

Most of the purchase reels in this series are accom- 
panied with teachers' leaflets, giving additional facts 
concerning the topics in the reels, and suggestions for 
teaching. 



EDUCATIONAL FILMS— TYPES AND USES 11 



A Director of Visual Education 

From the time the school system starts visual in- 
struction, it should appoint a director of visual instruc- 
tion to care for and distribute the slides, films, 
machines, and other apparatus of the course ; the films 
should be ordered far enough in advance, and each 
teacher should be notified when the showings are to 
be made, and should receive in advance the synopses 
and notes accompanying the films that are to be sup- 
plied. 

The ideal prerequisite to a classroom film showing is 
for the teacher to have an opportunity to see the film 
before the children do, so she can select the parts for 
emphasis or slight treatment, and frame her questions 
and follow-up work accordingly. But unless the 
teacher can run the machine herself it requires twice 
the amount of time from the operator ; a good plan is 
for each room in the upper grades to have one boy or 
girl who has been trained to thread and operate the 
projector. * Learning to do this is a simple matter of 
an hour 's instruction, and the running of several prac- 
tice reels through the machine. 

In one system, reported to the author, the teachers 
assemble at the beginning of the school year, and once 
a month during the year at a designated time to view 
the group of films for the coming months, synopses of 
the films are distributed and as the pictures are reeled 
off, the teachers have the opportunity of making any 
notes they may desire. 

* For this and other reasons (see Appendix) a portable projector is 
recommended for school use. 



12 MOTION PICTURES FOR INSTRUCTION 

A committee on visual instruction, one member for 
each main subject of study, should be appointed to fit 
the film course to the local textbooks and outlines, and 
to help teachers plan their work. The superintendent 
should recommend a budget for the rental and pur- 
chase of materials, and for the proper compensation 
of the director. Older students, as well as teachers, 
can be trained to rewind and inspect the film after each 
showing, and to operate the portable motion picture 
projectors. 

Film Correlations Only Partial 

The correlation suggested for each reel has been 
made on the basis of its principal content. Not every 
scene in each is equally well adapted to the related 
topic. A more perfect correlation could be secured if 
the teacher or school committee should select just the 
illustrations desired, in short lengths, from classified 
catalogues of film negatives, and have prints made to 
order in any length. It is the only way to avoid waste 
of time and footage and build up a permanent library 
of motion picture illustrations, every foot of which 
is germane to the topic for which illustration is de- 
sired. There are few such catalogues in existence, 
however, and their contents are chiefly of interest to 
theatrical producers. Bray Productions Inc., New 
York City, and the DeVry Corporation, Chicago, will 
make short prints to order from their extensive collec- 
tions of educational film negatives. 

Simple motion picture hand cameras, requiring no 
tripod nor cranking, are now on the market and can b*> 




35 mm. him 16 mm. film 



The Same Pictures Shown ox Both Widths 
of Film (Exact Sizes)— p. 15 



EDUCATIONAL FILMS— TYPES AND USES 13 



made indispensable adjuncts to any visual instruction 
department, as they enable the amateur to take his own 
motion pictures of many subjects that are available in 
his own school or locality. 

Only those cameras using the full theatre size 
(35mm.) film, however, take pictures that can be shown 
direct in theatres and standard portable projectors 
found in the majority of schools. 

All Films Are of Standard Width 

Only films of the standard width (35 mm.) adopted 
early in the history of the industry, by the Society of 
Motion Picture Engineers, are reco m mended for the 
three film libraries outlined in this book, or listed in the 
Comprehensive List of Films in Part II. The reason 
is the obvious one of making available to the schools 
the best films of all the world. Any other width film 
adopted would limit the schools to a very small frac- 
tion of the world's film production. 

In February 1925, at a meeting of the Department of 
Superintendence of the National Education Associa- 
tion it was announced that Mr. George Eastman of the 
Eastman Kodak Co., had offered to co-operate with the 
N.E.A. Committee on Visual Education in a production 
of a series of moving pictures on narrow width film to 
be produced for classroom work. The Eastman Kodak 
Company manufactures a camera and motion picture 
projector both of which take 16 mm. film. The Com- 
pany secured the co-operation of the Visual Education 
Co mmi ttee which selected the following ten cities in 
which to try out the film for two years : Eochester, De- 



14 MOTION PICTURES FOR INSTRUCTION 



troit, Chicago, Kansas City, Denver, Los Angeles, New 
York, Springfield or Newton, Mass., Atlanta, Winston- 
Salem. The films will be for the fourth, fifth and sixth 
grades and the junior high school, and will illustrate 
the following subjects: Geography, Health and Hy- 
giene, Civics, Fine and Practical Arts, and General 
Sciences. We are not told the number of films that 
will be produced for this purpose but are informed 
that the Eastman Kodak Company mil furnish their 
Kodascope Motion Picture Projector and all 16mm. 
films necessary for the experiment. The 16 mm. prints 
however, will be made from standard size (35 mm.) 
negative. An enterprise of this kind financed by one 
of the richest business firms in this country ought to 
produce evidence which will determine the compara- 
tive values of standard and off-standard films and pro- 
jectors in public school work. We will have to wait 
two years before a report is made on the work accom- 
plished. 



Grading Is in Teacher's Presentation 

The fact that films are frequently not designated for 
a specific grade is not as great a drawback as it might 
seem at first glance. The film is primarily a series of 
pictures for illustration. Pictures are not as easily 
assigned to specific grades as are books ; the gradation 
should be done by the teacher in handling the picture ; 
the kind of questions and supplementary facts which 
she uses will depend on the age and ability of the child. 
The same picture may be used with a fifth grade child 



EDUCATIONAL FILMS— TYPES AND USES 15 



and a high school graduate, but the treatment will be 
entirely different. For instance, in "The Oregon 
Course of Study Illustrated, " the films, "Having a 
Circus 99 and "Starting in Life" are listed for second 
grade geography and also for high school biology. 

"Motion Pictures," says Professor Freeman in 
Visual Education, "should be so designed as to furnish 
to the teacher otherwise inaccessible raw material of 
instruction, but should leave the organization of the 
complete teaching unit largely to the teacher. The 
explanation, discussion or elaboration of the material 
which is shown in the film is a function of language. 
Language can be used fully as effectively, if not more 
effectively, by the teacher as by the film. Further- 
more, the class should take a large share in the dis- 
cussion. The reduction of the motion picture to its 
essential core will promote both economy and flexi- 
bility." 

However, in a large way, certain pictures are better 
adapted to fifth grade children, than to college juniors, 
and these rough gradations are sometimes indicated. 
They are, however, only suggestive, as the teacher's 
treatment of the picture will be the main factor in 
reference to the grade with which it may be used. 
The teacher's leaflets accompanying many of the films, 
and the encyclopedias and the supplementary texts in 
the library, will furnish the additional supplementary 
material for interpretation and study. 

It is evident that the particular day, week and month 
when a film should be used cannot be designated in a 
general schedule, as the various cities in the United 



16 MOTION PICTURES FOR INSTRUCTION 



States use different texts and arrange topics in differ- 
ing sequences. Here again the teacher's intelligence 
must be the guide. 

The visual instruction committee or director should 
note where the topic covered by each film is treated 
in the textbooks or outline of the course of study in 
each city. The films should be designated for definite 
pages in the textbooks or lesson outlines during the 
week which the local course of study specifies for the 
topic. 

No claim is made that these films are the best pos- 
sible selections for each of the topics included. Other 
factors, such as availability and cost, had to enter in. 
But a sincere effort was made to include no unsuitable 
film and to so edit, in the notes, those that are included, 
that teachers will be guided to use the most signifi- 
cant scenes and titles. The teachers' own titles may 
be added with stereopticon slides, or can be copied 
on two or three frames * from a card with the movie 
camera and added to the film. The stop-on-film shut- 
ters of portable projectors make long footage for titles 
unnecessary. 

Motion Pictures not Always Limited to Action 

Scenes 

The opinion is expressed quite generally among edu- 
cators that it is a waste of time and money to include 
any views in motion picture film which do not contain 
action, as these "stills" can be shown equally well with 

* A "frame" on a strip of moving picture film means one of the little 
pictures of which there are sixteen to the foot. 



EDUCATIONAL FILMS— TYPES AND USES 17 



the cheaper slide, and can be held on the screen much 
longer for observation. Some educators go so far as 
to say that no titles should be printed on the motion 
picture film, as these call for no action. Titles can be 
thrown on the screen with a stereopticon and slides. * 
One can agree in a general way with the obvious 
principle that only action should be shown with motion 
pictures, but this general agreement should admit of 
many exceptions. Quite frequently convenience out- 
weighs expense, in the use of many electrical appli- 
ances and various business practices. When a motion 
picture of a moving railroad train engages the atten- 
tion, and a striking bit of scenery is in the vicinity, the 
audience is in a mental state to appreciate the scene as 
it flashes on immediately after the motion, -and this 
heightened state of attention far outweighs the saving 
effected by waiting until the whole exhibition is over to 
show slides, or stopping the film and switchng on the 
stereopticon slide. ' 6 Stills " frequently relate to bits 
of action that justify a motion picture presentation. In 
the mountain view, floating clouds increase the beauty 
and heighten the effect of reality, as does a distant 
bird flying, or a burro climbing a mountain pass.f 

* "Subject matter should not be included in educational films which 
is not primarily the representation of motion or action." — Freeman. 

t "In this connection let us refer to the quotation previously made 
that 'Of still objects like the Capitol at Washington, a banana tree, the 
Panama Canal, etc., a more comprehensive view may be obtained from 
still than from moving pictures.' The broad assumption is made that 
all of these are still objects. This is wrong. The banana tree is 
growing and yielding its harvest to the native fruit gatherers, the 
Panama Canal with its locks opening and closing, the water within 
them lowering and raising and sending thousands of ships on their 
way, are very far from still objects. The visual educator should dis- 
tinguish in recommending the still picture in preference to the cine- 



18 



MOTION PICTURES FOR INSTRUCTION 



Similarly, when a manufacturer is producing a film 
of the manufacture of his product, while much of the 
machinery and the exterior of his plant could be shown 
equally well as "stills," he knows that the audience 
would likely not see at all what he wishes to show if he 
does not run it in then and there with the complete 
continuity of the story. Few operators would bother 
to show the slides separately with different lenses, and 
the audience would perhaps lose interest and not wait 
for slides at the end. School children would be under 
stricter control and could be made to wait for the 
slides, but the principle must not be overworked where 
the "stills" are natural to the scene, and take short 
foot ages. 

It is certainly true that dwelling on maps, diagrams, 
exteriors of buildings, blackboard drawings and cross 
sections in "educational" movies has been overdone, 
and educators should plan to eliminate such views 
where all the circumstances justify it. But they 
should be equally free to include "stills" where the 
circumstances justify it. 

Schools Should Purchase Films 

Heretofore it has been very difficult for school 
boards to purchase their own film for a permanent film 
library on account of the high sale prices put on films 
by producers, the producers' desire being to rent 
rather than sell prints. This practice is more or less 

matographic, whether he has in mind teaching merely the form of 
the tree and the construction of the canal, or their life and growth 
and use." — Motion Pictures in Education, Ellis and Thornborough. 



EDUCATIONAL FILMS— TYPES AND USES 19 



traditional in the theatrical world. The adoption of 
portable motion picture machines as regular equip- 
ment by schools calls for a radical change in the 
method of handling film. The school is used to pur- 
chasing its illustrative material in the form of globes, 
maps and scientific apparatus. It purchases the books 
for its permanent library. The same procedure 
should be followed in the case of slides and films. 
After educators have settled on certain films as the 
best available to illustrate certain topics in the course 
of study, and the films have been listed for correla- 
tion with these topics, under the rental system there 
is no assurance that the same films will be available the 
next year, or that they can be secured at the time 
desired. Transportation losses and delays are annoy- 
ing. Under the purchase plan, this uncertainty is re- 
moved, and the sclool has the same control of its film 
supply from year to year that it has over its books and 
other teaching aids.* 

* The DeVry Corporation, 1111 Center Street, Chicago, has a Classi- 
fied Library of Film Negatives (about 150,000 ft.) gathered from many 
parts of the world, from which films of standard width are sold out- 
right to schools in short lengths suitable for classroom use. All prints 
are on non-inflammable stock, so that there can be no fire hazard in 
their use, either while being run in projectors or while in storage. 

A large group of Purchase Films will be found in the Comprehensive 
List of Educational Films (Part II). 



CHAPTER II 



THREE FILM LIBRARIES FOR THE COURSE OF STUDY 
FORTY REEL LIBRARY 

Films selected for these three librar: ,*s are printed 
in italic type ; substitute films, in ordinary type. The 
numbers after the films refer to the Descriptive Lists 
of Films in Chapter III, arranged alphabetically under 
the headings: Purchase Films, Eental Films and 
Free Films/ 

Films numbered up to 100 are Purchase Films, those 
from 100 to 200 are Rentals, and from 200 to 300 are 
Free Films. 

Brief notes describing each film are given in Chapter 
III, together with addresses of exchanges and prices. 



GEOGRAPHY 

California's Wonders Grades 5 & 6 

(Purchase No. 1) 
Substitutions: (See Teacher's Leaflet, page 76.) f 

*Free films when distributed by University centers usually have a 
service charge of from 50 to 75 cents a reel. The Y. M. C. A. free films 
have no service fee. 

t Full lesson plans with synopses, questions, references, etc., are 

20 



FORTY REEL LIBRARY 



21 



(Eental No. 101) 

(Free No. 201) 
Grand Canyon (In Color) 

(Rental No. 102) 
Substitutions : 

(Free No. 202) 
The Yellowstone 

(Free No. 203) 
Fair Florida 

(Purchase No. 2) 
Substitutions : 

(Free No. 204) 
Cuba (2 reels) 

(Free No. 205) 
Enchanting Japan 

(Purchase No. 3) 
Substitution : 

(Eental No. 103) 
India and Tibet 

(Purchase No. 4) 
Substitution : 

(Eental No. 104) 
Palestine 

(Purchase No. 5) 
Substitution : 

(Eental No. 105) 

given in Chapter V, for six of the films included in these libraries, 
The films are: 

No. 1 — California's Wonders. 

No. 110 — Immigration (2 reels). 

No. 114— Bre'r Rabbit and His Pals. 

No. 226 — Uncle Sam, Champion Farmer. 

Xo. 10— Milk as Food. 

Xo. 134a — American Ideals. 



Grades 5 & 7 

Grades 5 & 7 
Grades 5 & 7 

Grade 6 
Grade 6 

Grade 6 

Grade 6 



22 



MOTION PICTURES FOR INSTRUCTION 



HISTORY 

American Indians and Their Ancestors Grades 5 & 7 
(Purchase No. 6) 
Substitutions : 
(Rental No. 106) 
(Free No. 206) 
Landmarks of Our Forefathers Grades 5 & 7 

(Rental No. 107) 
Substitutions : 

(Free No. 207, first reel) 
Neiv England Shrines Grades 5 & 7 

(Rental No. 108) 
Substitution : 

(Free No. 208, second reel) 
Eve of the Revolution (3 reels) Grades 5 & 7 

Chronicles of America 
Photoplay, Yale 

(Rental No. 109) 
Substitutions : 
Eastern Scenics 
(Free Nos. 209, 210, 211) 



CITIZENSHIP 

Immigration (2 reels) Grades 5 & 7 

(Rental No. 110) 
Substitutions : 

(Free Nos. 212 & 213) 

See Teacher's Leaflet, page 99. 



FORTY REEL LIBRARY 



23 



NATURE STUDY — BIOLOGY 

Mammals 

(Purchase No. 7) 
Substitutions : 
(Eental No. Ill) 
(Free No. 214) 
Birds 

(Purchase No. 8) 
Substitutions : 
(Rental No. 112) 
(Free No. 215) 
Bre'r Rabbit & His Pals — Rodents 
(Rental No. 113) 
Substitution : 

(Free No. 216, 1st reel) 
Ants, Nature's Craftsmen 

(Rental No. 114) See Teacher's Leaflet, page 72. 
Substitution : 
(Free No. 216, 2d reel — no correlation with ants) 
Boney Makers (Bees) 
(Rental No. 115) 
Substitution : 
(Free No. 217) 
Baby Song Birds at Meal Time 
(Rental No. 116) 
Substitution : 
(Free No. 218) 



24 MOTION PICTURES FOR INSTRUCTION 



LANGUAGE AND LITERATURE 



Pied Piper Grades 5 & 6 

(Rental No. 117) 
Substitution : 
See Note Below 
Irving 

(Rental No. 118) 
Substitution : 
See Note Below 
Cooper 

(Rental No. 119) 
Substitution : 
See Note Below 
Bryant 

(Rental No. 120) 
Substitution: 
See Note Below 
Whittier 

(Rental No. 121) 
Substitution : 
See Note Below 
Longfellow 

'(Rental No. 122) 
Substitution : 

See Note Below 
Note: Free Films: There are practically no free 
films that correlate well with literature, and where 
free films are desired for the English classes, we 
recommend that scenics like the following be substi- 



Grades 5 & 6 



Grades 5 & 6 



Grades 5 & 6 



Grades 5 & 6 



Grades 5 & 6 



FORTY KEEL LIBRARY 



25 



tuted: 219, 220, 221, 222, 223— these to be used as bases 
of compositions and conversations. 



VOCATIONAL 



Dairying 

(Purchase No. 9) 
Substitution: 

(Free No. 224) 
Garden Gold 

(Free No. 225) 
Uncle Sam, Champion Farmer 

See Teacher's Leaflet, page 88. 

(Free No. 226) 
Wizard y of Wireless (2 reels) 

(Free' No. 227) 
Baick High Spots 

(Free No. 228) 



PHYSIOLOGY, HEALTH AXD WELFARE 

Milk as Food 

(Purchase No. 10) 
See Teacher's Leaflet, page 81. 
Substitution : 
(Free No. 229) 



26 MOTION PICTURES FOR INSTRUCTION 

Through Life's Windows 
(Eental No. 123) 
Substitution : 
(Free No. 230) 



ATHLETICS 



Winter Sports 

(Purchase No. 11) 
Substitution : 

(Free No. 231) 
Gridiron Glory 

(Rental No. 124) 
Swift and Strong 

(Eental No. 125) 
Substitution : 

(Free No. 232) 



Eighty Reel Library 

(All of the 40 reels in the Forty Eeel Library and the 

following 40 additional reels) 
Find numbers, addresses of exchanges, cost, etc., for 
each reel in " Descriptive List of Films in the Three 
Libraries" (Chapter III). 



EIGHTY REEL LIBRARY 



27 



GEOGRAPHY 



All 'Qtrn.lin, nvirl. 'Nfp'W 7j pnlnwcl, 

JLjLWo V 1 LlUV Lkaj Lt / I \A It DM/ r J C Lt< I Hi iv \AJ 


Orarlp 

\A X CI 


6 


(Purchase No 12) 






Rice and Cowva in the Philiwines 

*M- \J \J \J \y \AJ w V \AJ V-/ \S t J 1 KA' V § V V 9 V W JL it'll KJ JL/ t § %f \J %J 


Grade 


7 


(Purchasp No 13) 






T* 7 ? no P rinwtii 1 9 




7 


(Purchase No 14) 






Athens the Glorious, Pat-he Color 


Grade 


6 


(Rental No. 126) 






The Ancient Duchy of Brittany 


Grade 


6 


(Rental No. 127) 






Three Ancient Cities of France 


Grade 


6 


(Rental No. 128) 






East is East (Northern Africa) 


Grade 


6 


(Rental No. 129) 







Free Films as Substitutes for Above 

There are few free films available on foreign coun- 
tries ; so those indicated below are substitutes in a very 
general sense only : 

Crossing the Atlantic 

(Free No. 233) 
From Tropic Isles 

(Free No. 234) 
In Gulfs Enchanted 

(Free No. 235) 
Panama Canal (2 reels) 

(Free No. 236) 
The Lone Asian Traveler 

(Free No. 237) 



28 MOTION PICTURES FOR INSTRUCTION 

Through the Open Door of Manchuria 
(Free No. 238) 



HISTORY 

Dixie, Yale Chronicles of America Grade 7 

(3 reels) 

Eental No. 130) 
Evolution of Transportation (Land) Grades 5 & 7 

(Purchase No. 15) 
Substitution : 

(Eental No. 131) 
Evolution of Transportation (Water) Grades 5 & 7 

(Purchase No. 16) 
Substitution : 

(Rental No. 132) 
The Call to Arms (Lincoln Cycle) Grade 7 

(2 reels) 

(Rental No. 133) 
The Real Roosevelt (2 reels) Grade 7 

(Rental No. 134) 
(There are no free films to substitute for the histori- 
cal films, but patrons may draw from the free list at 
the back of this book, when close correlation is not 
necessary.) 



CITIZENSHIP 



American Ideals Grade 7 

(Rental No. 134A) See Teacher's Leaflet, page 108. 



EIGHTY REEL LIBRARY 



29 



Substitution : 
(Free No. 239) 
Boy Problem Solved 

(Free No. 240) 
Moulders of Manhood 
(Eental No. 135) 
Substitution : 
(Free No. 241) 



NATURE STUDY BIOLOGY 

Reptiles Upper Grades & High School 

(Purchase No. 17) 
Adaption (Animal Camouflage) 

(Eental No. 136) 
Substitution: 

(Free No. 242) 
M ollusJcs 

(Rental No. 137) 
Substitution : 

(Free No. 243) 
Crayfish 

(Rental No. 138) 
Birds of Passage (3 reels) 

(Rental No. 139) 
Substitution : 

(Free No. 244) 
Watching the Weather 

(Free No. 245) 



30 MOTION PICTURES FOE INSTRUCTION 



LANGUAGE AND LITERATURE 

Holmes 

(Rental No. 140) 
Lowell 

(Rental No. 141) 

Foe 

(Rental No. 142) 

Twain 

(Rental No. 143) 
Whitman 

(Rental No. 144) 
There are no free films that really correlate with the 
literary subjects above. Where patrons cannot af- 
ford to rent these films, we suggest scenics from the 
free list at the back of the book. Any good educa- 
tional film can be used in English classes as the basis 
of composition and discussion. 



VOCATIONAL 

Bill J ones, Champion 

(Free No. 246) 
Conquest of the Forest 

(Free No. 266) 
A Woolen Yarn 

(Free No. 268) 



ONE HUNDRED AND TWENTY REEL LIBRARY 31 

PHYSIOLOGY, HEALTH AND WELFAKE 

How We Breathe (y 2 reel) 

(Eental No. 145) 
Substitution : 

(Free No. 247) 
How We Hear (y 2 reel) 

(Eental No. 146) 
Substitution : 

(Free No. 248) 
One Scar or Many 

(Free No. 249) 
Working for Dear Life 

(Free No. 250) 



ATHLETICS 

Dances of Many Nations 

(Purchase No. 18) 
Corrective Gymnastics 

(Purchase No. 19) 
Substitution : 

(Free No. 251) 



ONE HUNDRED AND TWENTY REEL 
LIBRARY 

(All of the 80 reels in the Forty Eeel Library and 
Eighty Eeel Library and the following additional 
reels) 



32 



MOTION PICTURES FOR INSTRUCTION 



Find numbers, addresses of exchanges, cost, etc., for 
e&ch reel in "The Descriptive List of Films in the 
Three Libraries' 9 (Chapter III). 



GEOGRAPHY 



The U. 8. Ten Talent Nation: Grades 5 & 7 

(A selection of four reels from the complete series. 
The complete list is given in Part II.) 



bOli 


vxracles o & ( 


^xteniai i\o. itt< ) 




oUDstiiution : 




ree ino. aua) 




w ater 


vxractes o ct / 


^jLientai ino. l^to^ 




Substitution : 




ree ino. zd±) 




Minerals 


Grades 5 & 7 


(Rental No. 149) 




Substitution : 




(Free No. 255) 




Formation of Volcanoes and Geysers 


Grades 5 & 7 


(Rental No. 150) 




Substitution : 




(Free No. 265) 




Philippines and Manila 


Grade 7 


(Purchase No. 20) 




Work and Play in the Philippines 


Grade 7 


(Purchase No. 21) 




Java 


Grade 7 


(Purchase No. 22) 





ONE HUNDRED AND TWENTY REEL LIBRARY 33 



China Grade 7 

(Purchase No. 23) 
Mediterranean Types (Snap Shots in Italy, Spain and 
Monte Carlo) Grade 7 

(Purchase No. 24) 
As explained above, there are no available free 
films that correlate well with foreign subjects. When 
correlation is not necessary, free films may be selected 
from the list at the back of this book, to substitute for 
the foreign subjects above. 



HISTORY 



Abraham Lincoln First National Production (10 reels) 
(Rental No. 150) 



CITIZENSHIP 

Romance of the Republic Series (Six reels from 
the complete series listed in Part II) 
Department of Treasury 

(Rental No. 151) 
Department of War 

(Rental No. 152) 
Department of Navy 

(Rental No. 153) 
Department of Labor 

(Rental No. 154) 
Department of Post Office 

(Rental No. 155) 
Department of Interior 



34 MOTION PICTURES FOR INSTRUCTION 

(Rental No. 156) 
Available free films do not correlate with series 
above, but where correlation is not thought necessary, 
free films can be ordered from list at back of this book. 



NATURE STUDY AND GENERAL SCIENCE 

Hoiv Life Begins (4 reels) 
(Free No. 267) 
Substitutions : 

(Free Nos. 256, 257, & 258) 
The Four Seasons (4 reels) 

(Rental Nos. 157, 158, 159, 160) 
Substitutions : 

(Free Nos. 259, 260, 261, & 262) 
Secrets of Life Series (Tolhurst) 

Our Six-Legged Friends (inflammable)^ 
(Rental No. 161) 
Living Natural History (Ditmars) 
Planaria — Shelless Mollusks 

(Purchase No. 25) 
Living Natural History, is a remarkable scientific 
series of 42 reels, only one of which is given here, to 
acqaint schools with the series. All are listed in 
Chapter IX. 



LANGUAGE AND LITERATURE 

Opinions of educators differ widely on the merits of 
the film dramatizations that have been made of the 
works of standard English authors. Such films are 



ONE HUNDRED AND TWENTY REEL LIBRARY 35 

not included in these correlated courses, but are listed 
at the back of this book for ready reference. 

VOCATIONAL 

Many free films having a vocational bearing are dis- 
tributed through these three film libraries, as substi- 
tutes for the rental or purchase films. A wide variety 
of other occupational films will be found listed under 
free films in Part II. 



PHYSIOLOGY, HEALTH AND WELFARE 

Circulation of the Blood 

(Rental No. 162) 
Good Teeth, Good Health 

(Free 253) 
Jinks 

(Rental No. 163) 
Substitutions : 

(Free No. 264) 



ATHLETICS 

Fundamentals of Football (2 reels) 
(Directed by Coach Rockne) 

(Purchase No. 26) 
Golfing with Bobby Jones (y 2 reel) 

(Rental No. 164) 



36 MOTION PICTURES FOR INSTRUCTION 

Where special conditions in a course of study render 
the suggested substitutes unsuitable, the visual in- 
struction committee may turn to the Comprehensive 
List of Educational Films, Part II, and there, under 
Free, Rental, or Purchase Films, find a wide range of 
other educational films from which to make appropri- 
ate selection. Some films marked 6 6 Rental" in the 
libraries, may be found in the free list of Part II with 
a designation, N. C. R. That is, the National Cash 
Register Company has purchased these, and now holds 
them for free distribution. However, they do not 
promise to have available a number of prints to meet 
concurrent calls, so it was thought best not to include 
their films in the libraries organized in this chapter. 

Grades for which films are to be used, are not often 
designated in the film libraries, the reason having been 
stated in Chapter I. By previewing the film, the 
teacher can adapt the film lesson to the ages of the 
children. Films mentioned with grade designation are 
mostly in geography and history where custom has 
established fairly definite time units through the 
grades, 



Courtesy of Educational Screen 

Scene from "Eve of the Revolution," in the Yale Chronicles of 
America Photoplays — p. 42 




Courtesy of Educational Screen 

Scene from "Dixie" in the Yale Chronicles of America Photo- 
plays— p. 52 



CHAPTER III 



DESCRIPTIVE LIST OF FILMS IN THE LIBRARIES 

(Numbers, Titles, Addresses of Exchanges, Cost 
of Rentals and Purchases) 

Information in the notes has been gathered from a 
wide variety of sources, too numerous to list in detail. 
Write direct to the film exchange for rates and dates. 
When films are to be used several days, it is customary 
to grant a reduced rental rate for all days after the 
first one. Always specify non-inflammable films when 
ordering. 

FORTY REEL LIBRARY * 

Purchase Films 

1. California 's Wonders — $65.00 — DeVry Negative 
Library, 1111 Center St., Chicago, Ill.f 
Views of California scenery, famous the world over, are exhibited 
in this film. There are glimpses of Yosemite's Falls, the Three 
Brothers, the majestic El Capitan, the giant trees, and the pic- 
turesque religious ceremony held annually on Mt. Rubidoux — Lake 

* Abbreviations occurring in this list ( see beginning of Part II, p. 
257, for a more extended list and additional details) : 

IL S. Ag. — United States Department of Agriculture, Washington, 
D. C. 

Bu. Mines — U. S. Bureau of Mines, Pittsburgh, Pa. 
N. C. R. — National Cash Register Company, Dayton, Ohio. 
G. E. — General Electric Company, Schenectady, N. Y. 
t The DeVry films are printed on receipt of order. 

37 



38 MOTION PICTURES FOR INSTRUCTION 



Tahoe — Mt. Lassen — Mirror Lake — mountain skiing and tobogganing 
— Ostrich Farms. See Teachers' Leaflet, page 77. 

2. Faik Florida— $65.00 — DeVry Negative Library, 
1111 Center St., Chicago, III. 

Views of the Casino at Palm Beach — surf bathing — airplaning — 
the Royal Ponciana Hotel — the characteristic vegetation of Florida; 
orange groves, bananas, pineapples, melons, cocoanuts — views of 
an alligator farm. Teachers' leaflet. 

3. Enchanting Japan — $65.00 — DeVry Negative Li- 
brary, 1111 Center St., Chicago, III. 

The gathering of the birds at the ringing of the temple bells — 
education of the geisha girls — jinrikishas — Cherry Blossom Fes- 
tival — the sacred mountain of Japan, Mt. Fujiyama — other bits of 
Japanese scenery — a view of the great image of Buddha with its 
eyes of pure gold — workers in the rice fields — pearl divers — women 
at work coaling ships. Teachers' leaflet. 

4. India and Tibet — $65.00 — DeVry Negative Library, 
1111 Center St., Chicago, Ilk 

The film brings before our eyes a wondrous panorama — the festi- 
vals, featuring elephants in rich oriental trappings — the weird 
burial customs of burning bodies on the ghats and scattering the 
ashes on the sacred Ganges — the mysterious temple dances of the 
Tibetan priests — the grotesque Devil Dances of the common people. 
The reel reaches its climax with the image of the incomparable Taj 
Mahal. Teachers' leaflet. 

5. Palestine — $65.00 — DeVry Negative Library, 1111 
Center St., Chicago, III. 

Glimpses of Bethlehem and Tiberius — distant and close-up views 
of Jerusalem, including the Mount of Olives, the Mosque of Omar, 
the Wailing Place of the Jews, and the Church of the Holy Sepul- 
cher. Teachers' leaflet. 

6. Amekican Indians and Their Ancestors — $65.00 — 
DeVry Negative Library. 



FORTY REEL LIBRARY 



39 



7. Mammals — $65.00 — DeVry Negative Library, 1111 
Center St., Chicago, III. 

Animals in their native habitats and in captivity — buffalo — 
camels — caribou — deer — elephants — hippopotami — ground hog; — por- 
cupines — raccoons — sloth bear — kangaroos — lions — leopards — pan- 
thers — monkeys. Teachers' leaflet. 

8. Birds — $65.00 DeVry Negative Library, 1111 Center 
St., Chicago, III. 

Wild geese and duck — -rarer birds like the cassowary and fishing 
cormorants — Australian crane — New Zealand ostrich — wedge-tailed 
eagle — the temple doves of Japan — the kiwi, the famous wingless 
bird of Australia. Teachers' leaflet. 

9. Dairying — $65.00 — DeVry Negative Library, 1111 
Center St., Chicago, III. 

Herds of Jersey, Guernsey and other breeds of dairy cattle — 
interior of modern barns — operation of mechanical milker. Teach- 
ers' leaflet. 

10. Milk as Food — $60.00 — Ford Motion Picture 
Laboratories, Detroit, Mich. 

Choice herds of Holstein in sanitary barns — the proper way to 
keep milk healthful — testing milk for butter fat — pasteurization — 
composition of milk food. 

11. Winter Sports — $65.00 — DeVry Negative Library, 
1111 Center St., Chicago, III. 

Skiing and toboganning in Northern California — joy ride on a 
dog sled — snow fight — iee skating — sleigh ride — aqua-planing— a 
modern auto snow sled— winter sports in the White Mountains and 
Adirondaeks. Teachers' leaflet. 

Rental Films 

While reels are offered from some sources for as low 
as $1.00 and $1.50 rental, the experience of all reliable 



40 MOTION PICTURES FOE INSTRUCTION 

non-theatrical distributors is that a film rental busi- 
ness cannot be conducted where reels are rented at 
less than $2.00 per reel. A rental rate of $3.00 and 
$4.00 per reel is not exorbitant, and productions of 
exceptional merit are justified in asking $5.00. The- 
atres pay many times these rates. 

Bates are based on the cost of production, cost of 
prints, cost of keeping prints in good physical condi- 
tion, and the number of rentals. Endowed institutions 
can make better rates. Lower rates from commercial 
exchanges will mean as a rule, old prints in poor phys- 
ical condition. Streaks, poor patches causing jumps, 
etc., on the screen, divert attention from the theme to 
the medium, and produce annoyance and waste of time. 
Old film not kept properly humidified, gets brittle and 
breaks easily in the projector, which frequently ruins 
the lesson. Old prints too frequently have ragged 
edges — broken sprocket holes — causing lost loops and 
breaks. It pays to deal only with reliable film ex- 
changes. Even when this is done, poor prints slip by 
in the rewind and are sent out in poor condition with- 
out the knowledge of the manager. This is another 
reason for the teacher running the film through once 
before the class showing. 

101. California, the Golden State — $4.00 — General 
Vision Company, 104 W. 42nd St., New York City. 

Characteristic features of a state that embraces the widest variety 
of climate, products and scenery. 

102. Grand Canyon of Arizona — $4.00 — General Vi- 
sion Company, 104 W. 42nd St., New York City. 



FORTY REEL LIBRARY 



41 



A faithful depiction of one of the most interesting spots in the 
world. 

103. School Days in Japan — $2.50 — Fox Film Cor- 
poration, 55th St. & 10th Ave. y New York City 
{Branches in principal cities). 

Glimpses of the educational system of a rising oriental state. 

104. India — $4.00— General Vision Co., 104 W. 42nd 
St., New York City. 

An orderly study of the general topography, peoples and customs 
of India, designed to accompany a regular geographic text. 

105. Jerusalem — $5.00 — Pictorial Clubs, Inc., distrib- 
uting through Pathe exchanges. 

This reel concerns itself mostly with the Jerusalem of the past 
and is a geographic-historical study. 

106. Fiest Americans — $5.00 — Pathe Exchange, Inc., 
35 W. 35th St., New York City (Branches in prin- 
cipal cities). 

A picture comparison of the habits, life, religious ceremonies, 
and industries between the Indians of the Southwest and the Indians 
of the Plains. Most of the Pictures were made on the Blackfeet 
Reservation in Glacier National Park and in Arizona and New 
Mexico among the Pueblos. Some of the pictures show ancient 
cliff-dwellers. 

107. Landmarks of Our Forefathers — $5.00 — Pathe 
Exchange, Inc., 35 W. 35th St., New York City 
(Branches in principal cities). 

A picture of high educational value since it gives views of his- 
toric spots like Jamestown, Yorktown, and the scene of Cornwallis' 
surrender. There are diagrams to supplement the pictures. 



42 MOTION PICTURES FOR INSTRUCTION 



108. New England Shrines — $5.00 — Pathe Exchange, 
Inc., 35 W. 35th St., New York City (Branches in 
principal cities). 

Plymouth Rock, Faneuil Hall, site of the Battle of Lexington, 
and homes of New England authors are shown, making the picture 
of value both to history teachers and teachers of literature. 

109. Eve of the Revolution — (3 Reels) — $15.00 — 
Yale University Press Film Service, New Haven, 
Conn., and Pathe Exchange Inc., 35 W. 35th St., 
New York City (Branches in principal cities). 

An accurate three reel reproduction of the events preceding the 
Revolutionary War, such as the Boston Tea Party, the Boston Mas- 
sacre, the Ride of Paul Revere, and the Battles of Lexington and 
Concord. Prepared at great expense under the supervision of the 
Yale University Press, these pictures are designed to illustrate 
the famous Yale Chronicles of History, and represent the highest 
point reached so far in the dramatic portrayal of historic events 
with a proper degree of authenticity. 

110. Immigration — 2 reels — Neighborhood Motion Pic- 
ture Service, 131 W. 42nd St. New York City. 

Two short reels from Wythe's Citizens In The Making — an original 
series of pedagogical film lessons, given in full with teachers' man- 
ual in Chapter V. 

111. Our Four-Footed Helpers — (Ruminants) — $4.00 
—Pathe Exchange, Inc., 35 W. 35th St., New York 
City (Branches in principal cities). 

This reel presents types of the ruminant family (animals that 
chew the cud). Studies of the common cow — zebu — buffalo — gnu 
— giraffe — dromedary — alpaca — llama. The studies of the deer 
family, especially the elk and reindeer are considered remarkable. 
A teachers' leaflet gives much additional information. 



FORTY REEL LIBRARY 



43 



112. Birds of Prey — $4.00 — Pathe Exchange, Inc., 35 
W. 35ih St., New York City (Branches in princi- 
pal cities). 

Typical examples of this family — the crested auks — buzzards — 
goshawks — lammergeier — condors — eagles. Teachers' leaflet. 

113. Bre'r Rabbit and His Pals — (Rodents) — $4.00 — 
Patlie Exchange, Inc., 35 W. 35th St., New York 
City (Branches in principal cities). 

Habitats and appearance of rabbits, squirrels, prairie dogs, wood 
chucks, mice, jerboas, marmonts. The skeletal peculiarities of the 
rodent family are shown in close-ups and the facts of hibernation 
brought out in detail. Special teachers' leaflet with this film. 

114. Ants, Nature's Craftsmen — $4.00 — Pathe Ex- 
change, Inc., 35 W. 35th St., New York City 
(Branches in principal cities). 

The powers of the microscope are added to those of the moving 
picture camera in the magnification employed for the study of the 
community life of these tiny insects. The differences in structure 
between the queen, males, and workers are shown — close-ups of the 
ant-hill with its thousands of community workers — newly-born ants 
are shown under the care of the nurse ants — fighting and feeding 
habits. Special teachers' leaflet with this film. 

115. Honey-Makers — (Bees) — $4.00 — Pathe Exchange, 
Inc., 35 W. 35th St., New York City (Branches in 
principal cities). 

A similar study of the life and habits of the bee. One of the most 
valuable picture studies ever made of animal life. Special teachers' 
leaflet. 

116. Baby Songbirds at Meal Time — $4.00 — Pathe Ex- 
change, Inc., 35 W. 35th St., Neiv York City 
(Branches in principal cities). 

An untechnieal treatment of young birds at meal time — charming 
and unique. 



44 



MOTION PICTURES FOR INSTRUCTION 



117. Pied Piper— $2.00— George Kleine—49 W. 45th 
St., New York City. 

This film, illustrating 1 Robert Browning's poem, is inserted more 
as a delightful interlude in nature study, rather than as a nature 
study in itself. It cannot be called a "rat film" although there 
are rats in it. 

118. Irving 

119. Cooper $5.00 per reel — Pictorial Clubs, 

120. Byrant I Inc., Distributing Through Pathe 

121. Whittier Exchanges. 

122. Longfellow 

These well-known numbers of the American Author Series, pro- 
duced by Urban, contain excellent biographical and literary studies 
of the authors named. As a rule, each reel includes a dramatiza- 
tion of one of the best known of the author's works. 

123. Thru Life's Windows — $5.00 — American Motion 
Picture Corporation, 126 W. 46th St., New York 
City (Branches in principal cities). 

Natural study, mainly by animated diagrams, of the structure 
of the eye and its care. The defects of sight are illustrated and 
their correction. 

124. Gridiron Glory — $4.00 — Pathe Exchange, Inc., 
New York City (Branches in principal cities). 

This film shows the training necessary for modern football effi- 
ciency. The pictures were taken at several American colleges. 

125. Swift and Strong — $4.00 — Pathe Exchange, Inc., 
New York City (Branches in principal cities). 

The still motion picture is used to good advantage in this reel 
to show good running form and the details of motion involved in 
hurdling, pole-vaulting, discus throwing, and broad jumping. 



FORTY REEL LIBRARY 



45 



Free Films 

201. Sentinels of the Sunset — Forest Service — * 0/- 
fice of Motion Pictures, Extension Service, U. S. 
Ag., Washington, D. C. 

Views of Mt. Lowe and Mt. Wilson, California, including the 
observatory. Municipal camps maintained by cities for auto travel- 
ers are interesting features. 

202. Wonderland of Canyons — Forest Service — U. S. 
Ag., Washington, D. C. 

Scenes in the national forests of Colorado — the Royal Gorge — 
Leadville — Lake Creek — the Mountain of the Holy Cross — general 
views of the Continental Divide. 

203. Yellowstone — Northern Pacific Ry., St. Paul, 
Minn. 

A classic film of this wonderful park, showing geysers in action, 
the Grand Canyon of Yellowstone, and many other interesting and 
unique scenes. 

204. Citrus Fruit in Florida — 2 reels — U. S. Ag., 
Washington, D. C. 

Methods of management in orange groves and grapefruit groves 
of Florida; preparation of the fruit for shipment. 

205. Cuba, the Island of Sugar — 2 reels — G. E., 
Schenectady, N. Y. 

The largest sugar mill in the world; scenes in and around 
Havana. 

* The United States Department of Agriculture deposits large groups 
of its films with the Extension Departments of a number of state 
universities and agricultural colleges. (See list in Chapter IX). 
Frequently time and transportation charges can be reduced by dealing 
with the nearest state institution. 



46 MOTION PICTURES FOR INSTRUCTION 



206. The Prehistoric Bandelier (Cliff -Dwellers) — 2 
reels — U. S. Ag. 

Views of the Santa Fe National Forest which contains more 
than 20,000 cliff-dwellers — ancient and modern Indian pueblos. 

207. Touring with the Grangers — first reel — U. S. 
Ag., Washington, D. C. 

Automobile tour of the National Grangers — visits to West Point 
— Newport — Plymouth Rock — Provincetown — the mountains of Ver- 
mont — Niagara Falls. 

208. Touring with the Grangers — second reel. 

209. In Old Quebec — Can. M. P., Ottawa, Canada, or 
Y. M. C. A. Motion Picture Bureau, 1111 Center 
St., Chicago, and 120 W. 41st. St., New York City. 

This quaint and historical city is full of pictures for the students 
of American history. All of the interesting features are given in 
this film. 

210. White Pine, Beautiful and Useful — U. S. Ag., 
Washington, D. C, or Y. M. C. A. Motion Picture 
Bureau, 1111 Center St., Chicago, and 120 W. 
41st St., New York City. 

The uses of white pine; some of the famous houses in New Eng- 
land that are built of it; also scenes in Washington and Mt. Vernon. 

211. Under the Great Stone Face (White Mountain) 
—U. S. Ag., Washington, D. C, Y. M. C. A. Mo- 
tion Picture Bureau, 1111 Center St., Chicago, 
and 120 W. 41st St., New York City. 

White Mountain National Forest, including the famous "Old 
Man of the Mountains.' 7 

212. An American in the Making — Bu. Mines, Pitts- 
burgh, Pa. 

Americanization, industrial safety and welfare. 



FORTY REEL LIBRARY 



47 



213. Our Children — U. S. Labor Bureau, Washing- 
ton, D. C. 

The Children's Bureau of Health of the U. S. Department of 
Labor starts its beneficent work in a small town; proper methods 
of weighing, measuring and examining babies are shown. 

214. When Elk Come Down — U. S. Ag., Washington, 
D. C. 

The forest ranger gets after the elk poacher on the snow-covered 
mountains of the Absaroka National Forest. 

215. Bird and Animal Life of Yellowstone — North- 
ern Pacafic Railway, St. Paul, Minn. 

The Yellowstone subject previously mentioned deals mainly with 
the scenic features of the park, and this reel devotes itself princi- 
pally to deer, bears, buffalo, birds, etc., of the region, although 
containing generous portions of the scenic marvels. 

216. Modern Pied Piper — 2 reels — U. S. Ag., Washing- 
ton, D. C. 

The old tale of the Pied Piper is suggested in this film, but the 
emphasis is put on modern methods of rat control and extermination. 

217. Bees: How They Live and Work — U. S. Ag., 
Washington, D. C. 

Bees at work gathering honey — beehive — queen bee laying eggs — 
life habits of this wonderful insect. 

218. National Bird Eefuges — U. 8. Ag., Washington, 
D. C. 

National bird refugees on islands in the Gulf of Mexico ; pelicans, 
terns, laughing gulls and other interesting birds. 

219. Roads to Wonderland — U. S. Ag., Washing- 
ton, D. C. 

Roads near Mt. Hood in Oregon National Park — Crater Lake 



48 MOTION PICTURES FOR INSTRUCTION 



and Yosemite National Park — unusual Western scenery — splendid 
examples of modern road building. 

220. Trails That Lube (Columbia River Region) — 
U. S. Ag., Washington, D. C. 

Views of the Columbia River Gorge and wonderful Eagle Creek 
road to Wahtun Lake in Oregon National Forest. 

221. Little Journeys in Colorado — U. S. Ag., Wash- 
ington, D. C. 

From Denver and Colorado Springs into the national forests; 
the views include Pike's Peak, the Garden of the Gods, Manitou, 
and Carol Lake. 

222. Hitting the High Spots (White Mountains) — 
U. S. Ag., W ashington, D. C. 

Scenic wonders of the White Mountain National Parks — camping 
and hiking scenes. 

223. She 's Wild— U. S. Ag., Washington, D. C. 

Broncho Busting — roping — tying — other cowboy feats — Indian 
dances. 

224. Great Dairy Sires and Their Daughters — U. S. 
Ag., Washington, D. C. 

Types of great dairy sires and their offspring. 

225. Garden Gold — U. S. Ag., Washington, D. C. 

How a golfer becomes a gardener ; community gardens in America 
for health and profit. 

226. Uncle Sam, Champion Farmer — U. S. Ag., Wash- 
ington, D. C. ■ 

Little cross sections of the farming industry in the U. S., including 
the growing of crops, fruit and live stock. 



FORTY REEL LIBRARY 



49 



227. Wizardry of Wireless — 2 reels — G. E., Sche- 
nectady, N. Y. (Branches in principal cities). 

The historical development of communication to distances. The 
old beacon light — the Indian smoke blanket — operation of the helio- 
graph — semaphore and wig-wagging — electric telegraph and tele- 
phone — animated drawings of the function of the vacuum tube and 
other radio parts. 

228. Buick High Spots — Buick Motor Co., Flint, 
Mich. 

The construction of a well-known American automobile. 

229. Milk, Nature's Perfect Food — International 
Harvester Co., 606 S. Michigan Ave., Chicago, III. 

The composition and value of milk as food and sanitary methods 
of storing and distributing it. A truly educational film. 

230. The Point of View — American Optometric As- 
sociation, 523 4th Ave., Louisville, Ky. 

The science of optics as illustrated by the human eye. Educa- 
tional diagrams make this a very instructive film. 

231. King Snow Holds Court — U. S. Ag., Washing- 
ton, D. C. 

Winter sports in the White Mountains — skiing, skating, etc.,- — 
scenery of the White Mountains. 



232. Field Day Sports — Illinois Steel Co., Dept. of 
Safety, 208 S. LaSalle St., Chicago, III. 

A typical celebration at a modern commercial plant under the 
auspices of its welfare organization. 



50 MOTION PICTURES FOR INSTRUCTION 



EIGHTY REEL LIBRARY 

Purchase Films 

12. Australia and New Zealand — $65.00 — DeVry 
Negative Library, 1111 Center St., Chicago, III. 

The tree ferns and eculapytus forests of Australia — a eucatyptus 
forest on fire — some of the queer wild animal life of Australia — 
views in the sheep country — the boiling mud springs and the Ro- 
turua hot pools in New Zealand — the Helvetia Ostrich Farm — 
Maori customs — shooting the rapids of the Wanganui, the Rhine 
of New Zealand. Teachers' leaflet. 

13. Rice and Copra in the Philippines — $65.00 — De- 
Vry Negative Library, 1111 Center St., Chicago, 
III. 

Cocoanut from the nut to the finished copra — rice terraces of the 
Ifuagos — women at work in the paddy fields — transplanting, culti- 
vating and harvesting rice. Teachers' leaflet. 

14. Filipino Primitives— $65.00 — DeVry Negative Li- 
brary, 1111 Center St., Chicago, III. 

Igorote — Dog market — Igorote government railroad employees- 
gathering bamboo shoots — Benguet Igorote dance and ceremonial 
feast — using the spear and head ax — Igorote musicians. 

Ifuagos — An Ifuagan dance, hunt and feast — Ifuagans at work. 

Moros — Moro beauties and spearmen — Moro boy divers — Moro 
dance — battle between spearmen at Mindanao. 

Negritos — Use of bow and arrow — Negrito dance. 

Teachers' leaflet. 

15. Evolution of Transportation (Land) — $65.00 — 
DeVry Negative Library, 1111 Center St., Chicago, 
III. 

From the elephants and camels of the east to automobiles and rail- 
way palaces. 



EIGHTY REEL LIBRARY 



51 



16. Evolution of Transportation (Water) — $65.00 — 
DeVry Negative Library, 1111 Center St., Chicago, 
III. 

From African war canoes to the modern battleship. 

17. Eeptiles — $65.00 — DeVry Negative Library, 1111 
Center St., Chicago, III. 

Rattlesnakes rattling and striking — feeding a python — battle be- 
tween a cobra and a mongoose — a turtle farm and tortoise market 
— close-up of alligators. Teachers' leaflet. 

18. Dances of Many Nations — $65.00 — DeVry Nega- 
tive Library, 1111 Center St., Chicago, III. 

Dance of an Indian girl — Indian war dance — Pageant of the 
Seasons — the Cuico, the national dance of Chile — Korean dances — 
nautch dancing girl of India; the dance in Kandy, Ceylon — the 
devil dances of Tibet and the temple dances of the lama priests — 
Italian and Javanese dances — the knife dance of Lake Bagendits; 
dances of the geisha girls — dances of the Filipino primitives — 
hula-hula dance of Honolulu — the Bisherene dance of Egypt — the 
Oopa-Oopa dance of Tahiti. Teachers' leaflet. 

19. Corrective Gymnastics — $60.00 — Visual Text Book 
Publishers, 212 W. 11th St., Los Angeles, Calif. 

A much neglected phase of athletic training, with exercises 
designed for the development of the average student rather than 
the athlete; a very helpful series under the direction of Professor 
LaPorte of the Department of Physical Instruction, University of 
Southern California. 

Rental Films 

126. Athens the Glorious — Pathe Color — $5.00 — 
Pathe Eoochange, Inc., 35 W. 35th St., New York 
City. 

A picture of this wonderful city in color, produced under the 



52 MOTION PICTURES FOR INSTRUCTION 



suggestion of the department of classical art of the Metropolitan 
Museum of Art. 

127. The Ancient Duchy of Brittany (France) — 
$5.00 — Pathe Exchange, Inc., 35 W. 35th St., New 
York City. 

Beautiful color views of the most picturesque province of France., 
linked with French history and literature. 

128. Three Ancient Cities of France — $5.00 — Pathe 
Exchange, Inc., 35 W. 35th St., Neiv York City. 

In color; Arnes, Avignon, and Carcassone, all famous in French 
history; includes villages and castles in the Pyrenees. 

129. East Is East (Northern Africa)— $5.00— Pathe 
Exchange, Inc., 35 W. 35th St., New York City. 

Tunis; views of the street and home life — desert scenes and oases 
in the vicinity. In Pathe color. 

130. Dixie— 5 reels, $5.00 per reel— Yale— Pathe Ex- 
change, Inc., 35 W. 35th St., New York City. 

Scenes of sacrifice in the south during the Civil War, with a real- 
istic presentation of the meeting of Grant and Lee at Appomattox. 

Chronicles of America Photoplays, produced by the Yale Univer- 
sity Press Film Service, are designed to form companion series of 
illustrations to the well known Chronicles of America issued by 
the Yale University Press. It was a great day for American history 
classes and for the introduction of scholarship into the movies, when 
this great series was decided upon. The auspices under which these 
pictures were made justifies our departure from our rule of one 
and two reel productions. As these photoplays rent for $5.00 per 
reel, it would be well to arrange a special schedule for their showing, 
so that more than the usual time may be given to their presentation 
and to the follow-up work which should accompany the exhibit. 
While only one of these subjects is in our Eighty Reel Library and 



H r 




EIGHTY REEL LIBRARY 



53 



another, "On the Eve of the Revolution," in the 120 Reel Library, 
wherever more time and money can be afforded by the school, we 
strongly recommend the inclusion of as many of the rest of the 
series as possible. The fifteen photoplays which have been so far 
completed are included in the Comprehensive List in Part II. 
Thirty-three plays are planned in the complete series. Some of 
these plays are not free from theatrical effects, but theatrical presen- 
tation had to be considered along with the school showings in order 
to get some sort of financial aid for the immense outlay involved. 

131. Evolution of Travel — $5.00 — General Vision 
Co., 104 W. 42nd St., New York City. 

A bird's-eye view of the long road the race has traveled in reaching 
the modern transportation facilities of today. 

132. Bailroads in United States History — Society of 
Visual Education, 327 S. LaSalle St., Chicago, III. 

The development of our railway systems, and the part they played 
in our economic growth. 

133. The Call to Arms — 2 reels, $5.00 per reel — 
Lincoln Cycle — American Motion Picture Corp., 
1260 W. 46th St., New York City. 

One of the pioneer attempts to produce a series of motion pictures 
of a serious educational purpose, suitable for classroom and assembly 
room presentation, was the series known as "The Son of Democracy" 
or sometimes called "The Lincoln Cycle," written, directed, and 
produced by Benjamin Chapin, who takes the leading role. Mr. 
Chapin had for years enacted the life of Lincoln from the lecture 
platform, and his remarkable likeness to the Great Emancipator 
made him manifestly fitted to undertake this task. The series is 
variously edited in from eight to ten chapters of two reels, each 
chapter forming an episode complete in itself. Only one of the 
Lincoln Cycle is selected for the Libraries in order to acquaint the 
schools with the general character of the series. The equally re- 
markable First National Picture "Abraham Lincoln" is used in the 



54 



MOTION PICTURES FOR INSTRUCTION 



120 Reel Library, so that the Lincoln topic is fully treated from 
another angle. 

134. The Real. Roosevelt — 2 reels — $5.00 per reel — 
Bureau of Commercial Economics, Washington, 
D. C. Can be secured free from the Motion Pic- 
ture Bureau National Council, Y. M. C. A, 1111 
Center St., Chicago, and 120 W. 41st St., New 
York City. 

Roosevelt as a colonel in the Spanish- American War with his 
rough riders — as police commissioner of New York City and Gover- 
nor of New York State — later as Vice-President and President of 
the United States. New prints of this subject are difficult to secure. 
The Y. M. C. A. (Moton Picture Bureau can furnish substi- 
tutes (rentals) from its new Roosevelt series listed in Part II, 
pages 39&-370. 

134A. American Ideals — $5.00 — Neighborhood Mo- 
tion Pictures Service, Inc., 131 W. 42nd St., 
New York City. 
One of Wythe's Citizenship Films, dealing with the initiation 
of an immigrant family into the ideals of American citizenship. 
The citizenship reels for the Libraries were printed before it was 
certain that the Wythe films would be released on a general rental 
basis; otherwise more of these would have been included. The re- 
mainder of them will be found in the Comprehensive List of Educa- 
tional Films in Part II under the subject of "Citizenship." 

135. Moulders of Manhood — $5.00 — Pictorial Clubs, 
Inc., Distributing Through Pathe Exchanges. 

The scene is laid at a conference of the Boy Scout executives of 
the United States; many of the most influential citizens of America 
are shown in this film; the famous scout, Dan Beard, and Ralph 
Hubbard, at the close of the meeting, stage an interesting episode 
from pioneer days. 



EIGHTY REEL LIBRARY 



55 



136. Adaptation (Animal Camouflage) — $4.00 — Pathe 
Exchange, Inc., 35 W. 35th St., New York City. 

The protective mimicry of nature. Crabs — worms — the walking 
stick — caterpillars — toads — -lizards — butterflies — the praying mantis. 

137. Molluscs— $4.00— Pathe Exchange, Inc., 35 W. 
35th St., New York City. 

Studies of the oyster, octopus, cuttle fish and snail; a Pathe 
screen study with teachers' leaflet. 

138. Crayfish— $4.00— Pathe Exchange, Inc., 35 W. 
35th St., New York City. 

Selected by many as a type study, the crayfish is of great interest 
to zoology classes. Also, scenes of the stickleback which has the 
unusual characteristic of being a fish that builds a nest. The pic- 
ture shows the nest with the eggs in it and the male guarding it. 
A Pathe screen study with teachers' leaflet. 

139. Birds of Passage — 3 reels, $4.00 per reel — Pathe 
Exchange, Inc., 35 W. 35th St., New York City. 

A study of the bird migration that has been called remarkable 
by scholars as well as theater audiences. The bird studies were 
made by Bengt Berg of the birds of northern Europe on their 
annual migration down the Nile to Abyssinia. Here again special 
schedule should be made for this three reel picture. 

140. Holmes — $4.00 — Pictorial Clubs, Inc., Distribut- 
ing Through Pathe Exchanges. 

Oliver Wendell Holmes is the first of Urban's Great American 
Author Series, its general plan being the same as that for Lowell, 
Poe, Twain, and Whitman below. The high spots in the author's 
biography are first shown and then a dramatization of one or two 
of his most popular poems. 

141. Lowell — $4.00 — Pictorial Clubs, Inc., Distribut- 
ing Through Pathe Exchanges. 



56 MOTION PICTURES FOR INSTRUCTION 



142. Pob — $4.00 — Pictorial Clubs, Inc., Distributing 
Through Pathe Exchanges. 

143. Twain — $4.00 — Pictorial Clubs, Inc., Distributing 
Through Pathe Exchanges. 

144. Whitman — $4.00 — Pictorial Clubs, Inc., Distrib- 
uting Through Pathe Exchanges. 

145. How We Breathe — y 2 reel — $1.50 — Bray Produc- 
tions, 120 W. 142nd St., New York City. 

This short reel uses the well-known Bray method of animated 
diagram and phantom view to show the bodily operations involved in 
breathing. 

146. How We Hear — y 2 reel — $1.50 — Bray Produc- 
tions, 120 W. 142nd St., New York City. 

Another very short reel of the same general character. 

Free Films 

233. Crossing the Atlantic — Pathescope Co\. of 
America for White Star Line, Aeolian Bldg., New 
York City. 

The steamer Olympic enroute from New York to Europe — pas- 
sengers engaged in sports on deck — tennis, shuffle board — swimming 
in the ship's pool — squash games — gymnasium scenes — and children 
riding bicycles — other scenes on the great liner — the ball room. 
Produced by the White Star Line. 

234. From Tropic Isles (Coconuts) — Franklin Baker 
Company, 15th and Garden Sts., Hoboken, N. J. 

The coconut industry. 



EIGHTY REEL LIBRARY 



57 



235. In Gulfs Enchanted — Pathescope Co. of Amer- 
ica for White Star Line, Aeolian Bldg., New York 
City. 

A trip on the Megantic — Cuba — Jamaica — Panama Canal — the 
coast of Venezuela — the island of Trinidad with the great asphalt 
bogs — various islands of the West Indies. An entertaining film 
containing beautiful photography. 

236. Panama Canal — 2 reels — G. E. y Schenectady, 
N. Y. 

The actual construction of the Panama Canal, as well as the 
completed work — following a ship through the locks from ocean 
to ocean. 

237. The Lone Asian Traveler — Atlas Educational 
Film Co., Oak Park, III., and Y. M. C. A. Motion 
Picture Bureau, 1111 Center St., Chicago, III. 

A fanciful and scenic introduction leading up to the manufacture 
of cheese. 

238. Thru the Open Door of Manchuria — 2 reels — 
S. Manchuria Railway Co., 1111 Broadway, New 
York City. 

Rare views of a little known country. 

239. A Letter to Dad — U. S. Ag., Washington, D. C. 

A typical Boys' and Girls' Club champion encampment at Sioux 
City, Iowa — one of the boys writes home to father and tells him of 
the many interesting things he has learned during the encampment. 

240. Boy Problem Solved — N. C. R., Dayton, 0. 

Methods used and results obtained by John H. Patterson of Day- 
ton, Ohio, in his boy welfare work — keeping them off the streets — 
useful and interesting labor — clean recreation — the development of 
civic pride. 



58 MOTION PICTURES FOR INSTRUCTION 



241. The 4-H Camp for Boys and Girls — U. S. Ag., 
Washington, D. C. 

4-H means Head, Heart, Hand and Health — the Boys' and 
Girls' Club Camp where they learn better farming and home-work. 

242. The Most Wonderful Insect in the World — 
Cicada — U. S. Ag., Washington, D. C. 

The cicada, or seventeen year locust — its mysterious disappear- 
ance under the ground and reappearance seventeen years later. 

243. Harvest of the Sea — Y. M. C. A. Motion Picture 
Bureau, 1111 Center St., Chicago, III, and 120 W. 
41st St., New York City. 

Thrilling pictures of deep-sea fishing. 

244. Anne's Aigrette — U. S. Ag., Washington, D. C. 

The egrets have been nearly exterminated by plume hunters 
the plumes being used largely for ladies' hats — the egrets in a 
federal bird refuge. 

245. Watching the Weather — U. S. Ag., Washington, 
D. C. 

Concrete lessons on how the air is charted by the weather bureau. 

246. Bill Jones, Champion — U. S. Ag., Washington, 
D. C. 

Reminiscences of a club champion on his return from the Boys' 
and Girls' Club Encampment. 

247. Inside Out — Y. M. C. A. Motion Picture Bureau, 
1111 Center St., Chicago, III, and 120 W. 41st St., 
New York City. 

The story of digestion told in wonderful animated diagrams and 



EIGHTY REEL LIBRARY 



59 



phantom views — what happens to food during the process of diges- 
tion — all the organs of the body concerned are seen at work. A 
Rowland Rogers film; can also be rented from the Rowland Rogers 
Studios, 71 W. 23rd St., New York City. 

248. Eevelations — G. E., Schenectady, N. Y. 

A classic example of the contribution of commercial firms to 
education — the manufacturing of x-ray tubes and picturization of 
the action of the x-rays themselves — wonderful views of what they 
accomplish in the location of foreign bodies in the human body 
and of the use of x-rays in medical and dental science. 

249. One Scar or Many— Y. M. C. A. Motion Picture 
Bureau, 1111 Center St., Chicago, III., and 120 W. 
41st Si., New York City. 

Many people oppose vaccination because they do not understand 
the principle on which it is founded. This health reel had the care- 
ful supervision of Dr. Roseneau of Harvard University. 

250. Working for Dear Life — Y. M. C. A. Motion 
Picture Bureau, 1111 Center St., Chicago, III., and 
120 W. 41st St., New York City. 

Shows the value of periodical health examinations as instituted 
by various life insurance companies of this country. 

251. Field Day Sports — Y. M. C. A. Motion Picture 
Bureau, 1111 Center St., Chicago, III., and 120 W. 
41st St., New York City. 

A track meet and various other athletic events are put through 
by the employees of the Illinois Steel Company under the direction 
of the Department of Safety and Relief. 



60 MOTION PICTURES FOR INSTRUCTION 



ONE HUNDRED TWENTY REEL LIBRARY 
Purchase Films 

20'. Philippines and Manila— $65.00— DeVry Nega- 
tive Library, 1111 Center St., Chicago, III. 
The Harbor of Manila — San Juan and old Fort Santiago — views 
of the Bridge of Spain and the Normal High School, in Manila- 
scenes on the Escolta and Pasig River. Teachers' leaflet. 

21. Work and Play in the Philippines — $65.00 — De- 
Vry Negative Library, 1111 Center St., Chicago, 
III. 

Filipino women embroidering, weaving, making lace and baskets 
— cutting, barking and stripping hemp — building a bamboo bridge 
— horse races, cock fights and caribou fights — a savage Sulu dance. 
Teachers' leaflet. 

22. Java — DeVry Negative Library, 1111 Center St., 
Chicago, III. 

Planting and harvesting rice in Java — the Batik industry — a 
seller of sarongs — tying the sarong — coconut hats and dry-goods 
dealers — a country fair of Garoet; kite-time in Java — Djogkarta, 
Javanese dance and orchestra — Javanese fisherman — picking water 
lilies — volcanic craters and boiling pools — hot geysers — Boro- 
Boedoer Temple — a Javanese funeral and a comic opera performance 
— the knife dance with music by an Aulong bamboo. Teachers' 
leaflet. 

23. China — DeVry Negative Library, 1111 Center St., 
Chicago, III. 

The reel opens with examples of the cheap labor of the Orient — 
loading ships on the Bund — unloading tea from junks — loading 
bananas — boat life around Canton and the Pearl River — views of 
the Great Wall of China — the Temple of Heaven — Hall of Classics 



Courtesy Educational Pictures Corp. 

"This Ant Is Upholding 3,000,000 Times Its Own Weight' 



IF THE ANT WERE A MAN 

f*j f7} % equal the feat 
of this ant the 
man would now 
t>e sustaining the 
anormous weight of 

3,000,000 lbs, 
jil.il I or 1500 tons. 




Courtesy Educational Pictures Corp. 

Two Scenes from "Our Six-Legged Friend" — p. 64 



ONE HUNDRED TWENTY REEL LIBRARY 61 



— the Camel Back ridge — the Camel Gate and a Chinese funeral 
procession — grinding flour in north China with the primitive stone 
mill. Teachers' leaflet. 

24. Mediterranean Types — DeVry Negative Library, 
1111 Center St., Chicago, III. 

Views of Sicily — Italian dances — the Messina earthquake — Piazza 
of St. Peter at Rome and the Fiesta de Agatha — sunset on the Bay of 
Naples — Monte Carlo — 'Gibraltar — Egyptian scenes — Cairo — the 
Nile River and Assouan Dam — scenes in the Libyan Desert — Algeria. 
Teachers' leaflet. 

25. Living Natural History — Planaria — Raymond L. 
Ditmars, c/o New York Geographical Society, New 
York City. 

The thirty-ninth in the series "Living Natural History." This 
particular reel was prepared under the direction of the Marine 
Biological Station at Naples. The complete series, consisting of 
forty-two reels, is noteworthy because of its strict scientific classifi- 
cations as followed in most zoology classrooms. The series includes : 
(1) Mammals, with the subdivisions of Primates, Carnivora, Ro- 
dents, Ungulates, and Marsupials; (2) Birds, with four subdivisions; 
(3) Reptiles, with seven subdivisions; (4) Amphibians, with two; 
(5) Insects, with eight; and (6) Marine Life, with four. As this 
series is for sale at $100.00 per reel, rather than rent, it was felt 
that but one or two examples could be included for purchase in 
the small film libraries arranged in Part I. The complete list is 
given under Purchase Films in Part II. 

26. Fundamentals of Football — 2 reels — $120.00 — 

Visual Text Book Publishers, 212 W. 11th St., Los 

Angeles, Calif. 
A splendid example of motion pictures applied to a definite 
part of college work. Coach Rockne of the University of Notre 
Dame has personally supervised these reels, showing the exact 
system he uses in coaching the fundamentals, of football; forty- 



62 MOTION PICTURES FOR INSTRUCTION 



three different units of football training are exhibited by means 
of slow motion, suspended animation, and animated charts, as well 
as the usual photographic process. Other athletic reels of the 
Visual Text Book Publishers are listed under Purchase Reels in 
the second part of this book. 

Rental Films 

The United States — A Tex Talent Nation — $5.00 
per reel — American Motion Picture Corp., 126 W. 
46th St., New York City. 

This series consists of twelve reels on geography and are an 
ambitious attempt to furnish the school with authoritative pedagogi- 
cal material, executed with advanced technic. As they are $5.00 
per reel, it was felt that only three or four of them could 
be included in the Library. These are: (1) Soil, (2) Wa- 
ter, and (3) Minerals. However, the complete list is given 
in Part II under Rental Films for such as can afford the se- 
ries. 

147. Natural Resources — Soil — $5.00 — American Mo- 
Hon Picture Corporation. 

148. Natural Resources — Water — $5.00 — American 
Motion Picture Corporation. 

149. Natural Resources — Minerals — $5.00 — Ameri- 
can Motion Picture Corporation. 

150. Formation of Volcanoes and Geysers — $2.00 — 
Society for Visual Education, 327 S. LaSalle St., 
Chicago, III. 

A representative of a long list of pioneer educational reels pro- 
duced by this firm. Animated diagrams, and actual motion pictures 
of volcanoes and geysers. See fuller list of their films in Part II. 



ONE HUNDRED TWENTY REEL LIBRARY 63 



151. Abraham Lincoln — 10 reels — First National Pic- 
tures, Inc., 383 Madison Ave., New York City, and 
831 S. Wabash Ave., Chicago, III. 

This film, distributed by First National and produced by Al and 
Ray Rockett, has been hailed every where as the finest screen presen- 
tation of the life of the Great Emancipator. The theatrical has 
been subordinated to a picturization of real life and the action and 
environment are characterized throughout by simplicity and sincerity. 
Although this is a long feature picture, it is recommended here for 
classroom and assembly room presentation, but when it is used a 
special schedule of the classes interested should be arranged to 
permit of the proper folic w-up work. 

Romance of the Republic Series — $4.00 per reel — Gen- 
eral Vision Co., 104 W. 42nd St., New York City. 
A serious attempt to objectify the work of the United States 
Government in the various executive departments. One reel is 
given to each of the following departments: Treasury, State, War, 
Kavy, Justice, Labor, Post Office, Agriculture, Interior, and Com- 
merce. These are $4.00 per day per single reel, but when the entire 
series is rented, the cost is somewhat less. Six of these depart- 
mental studies are given below and the complete series is listed un- 
der Rental Films in Part II. 

152. Department of Treasury — $4.00 — General Vi- 
sion Co. 

153. Department of War — $4.00 — General Vision Co. 

154. Department of Navy — $4.00 — General Vision Co. 

155. Department of Labor — $4.00 — General Vision Co. 

156. Department of Post Office — $4.00 — General Vi- 
sion Co. 

157. Department of Interior — $4.00 — General Vision 

Co. 



64 MOTION PICTURES FOR INSTRUCTION 



The Four Seasons — $5.00 per reel — Pictorial Clubs, 
Inc., Distributing Through Pathe Exchanges 

The producers state that the four reels of this feature production 
can be shown in serial form, covering a period of two or four weeks. 
Here the changing world of nature is presented through the year in 
one hour. The picture created a sensation even in the theatres 
when it was first presented and undoubtedly is one of the greatest 
educational features ever produced. As indicated, these can be 
rented one reel at a time or all together. 



158. Fall— $5.00— Pictorial Clubs, Inc. 

159. Winter— $5.00— Pictorial Clubs, Inc. Pathe 

160. Spring — $5.00 — Pictorial Clubs, Inc. \ Exchanges 

161. Summer — $5.00 — Pictorial Clubs, Inc. 

Secrets of Life Series — $5.00 per reel — Educational 
Film Corporation 729 7th Ave., Neiu York City. 
This series, made by Tolhurst, is another achievement in scien- 
tific photography to which visual educationists are proud to point 
■as an example of the definite educational value of motion pictures 
under classroom conditions. Only one of the series is included in 
the Libraries, but the complete set is listed in Part II under Rental 
Films. 



162. Our Six Legged Friends — $5.00 — Educational 
Film Corp. 

163. Circulation of the Blood — 1 reel — $4.00 — Gen- 
eral Vision Co., 104 W. 42nd St., New York City. 

A well authenticated pieturization of actual blood circulation 
under the miscroseope, for use of schools. There is a two reel 
version also. 

164. " Jinks" — y 2 Reel— 60 cents — National Tuber- 
culosis Association, 370 Seventh Ave., New York 
City. 



Courtesy of American Rolling Mills Co. 

Scene from "Manufacture of ARMCO Ingot Iron" — p. 65 
Molten iron pouring from open hearth furnace just after tapping 




Courtesy of American Rolling Mills Co. 

Scene from "Manufacture of ARMCO Ingot Iron" — p. 65 
Upturned blast furnace ladle pouring igneous iron into "pig" molds 



ONE HUNDRED TWENTY REEL LIBRARY 65 

A novel picture of cartoon effects, showing how persistency will 
overcome a tendency toward tuberculosis and build up a complete 
cure. 

165. Golfing with Bobby Jones — y 2 Reel — $2.50 — 
Pictorial Clubs, Inc., 350 Madison Ave., New York 
City, and 808 8. Wabash Ave., Chicago, III. 
The leading strokes of a famous golf champion. 

Free Films 

252. Limestone for Ailing Clover — U. S. Ag., Wash- 
ington, D. C. 

For students of soil and agriculture. 

253. Good Teeth, Good Health— Y. M. C. A. Motion 
Picture Bureau, 1111 Center St., Chicago, III., and 
120 W. 41st St., New Yarh City. 

A fine example of how motion picture propaganda can make good 
health habits attractive to young people. 

254. White Coal — 2 reels — G. E., Schenectady, N. Y. 

Water power and its combination with electrical energy in many 
applications to industrial life. 

255. Manufacture of Armco Iron — 2 reels — Ameri- 
can Rolling Mills Co., Middletown, Ohio. 

An unusually vivid and successful representation of processes 
difficult to photograph. 

256. Embryology of the Egg — U. S. Ag., Washing- 
ton, D. C. 

The beginning of life — fertile and infertile eggs — applications to 
poultry raising. 



66 



MOTION PICTURES FOR INSTRUCTION 



257. Beyond the Micboscope — Gr. E., Schenectady, 
N. Y. 

The decomposition of water into hydrogen and oxygen. Animated 
drawings represent the atoms which make up the hydrogen and 
oxygen; molecules, nuclei, electrons, ions, etc. — what happens when 
water freezes or is formed into snow-flakes. 

258. Last Days of the Prairie Dog — U. 8. Ag. y Wash- 
ington, D. C. 

The life and habits of an interesting animal in Arizona; the 
damage he does to farming and the work of the Government in the 
extermination of the pests. 

259. When North Winds Blow — White Mountains 
— U. S. Ag., Washington, D. C. 

A winter carnival in the White Mountain National Parks. 

260. Apple Blossom Time in the Land of Evangeline 
— Can. M. P., Ottawa, Canada. 

The apple industry in the Annapolis Valley in Nova Scotia, the 
Land of Evangeline. >< 

261. Summer Camps — Vacation Days in the National 
Forests — U. S. Ag., Washington, D. C. 

Boy Scouts on the Santa Fe and Oregon. 

262. Where Nature Smiles— Y. M. C. A. Motion Pic- 
ture Bureau, 1111 Center St., Chicago, III., and 
120 W. 41st., Neiv York City. 

The Niagara fruit district in Canada — beautiful scenes of the 
trees in blossom — picking and distribution of the fruit. 

263. Oral Hygiene — 2 reels — Colgate & Co\, New York 
City. 

The care of the teeth, with but little objectionable advertising. 



ONE HUNDRED TWENTY REEL LIBRARY 67 



264. Awakening of John Bond — New York Bureau of 
Health, 136 Center St., New York City. 

The gradual transformation of a miserly landlord into a con- 
siderate human being in his relations with his tenants. 

265. Yellowstone National Park — Northern Pacific 
Railway, St. Paul, Minn. 

Scenic beauties as observed in the regular four and a half day 
trip of the tourist. The bird and animal life of the Park is shown 
in another reel issued by the same company. 

266. Conquest of the Forest — G. E., Schenectady, 
N. Y. 

This shows the great forests of Oregon and Washington, and the 
logging and other operations performed in converting trees into 
lumber — thoroughly educational. 

267. How Life Begins — i reels — Y. M. C. A. Motion 
Picture Bureau, 1111 Center St., Chicago, III., and 
120 W. 41st St., Neiv York City. (This film ob- 
tainable free from Y. M. C. A. New York address 
only, but it can be rented from the Carter Cinema 
Production Corp., c/o Evans Film Laboratories, 
1476 Broadway, New York City.) 

One of ( *the earliest and best of the biological films. The com- 
plete life cycles of the sweet pea, frog, butterfly, chick and white 
rat. 

268. A Woolen Yarn — G. E., Schenectady, N. Y. 

The wool industry. The shearing of the sheep — carding — spin- 
ning — weaving. A comparison of work by the primitive Indians 
and the modern factory; highly educational. 



CHAPTER IV 



ANALYSIS OF THE FILM LIBRARIES BY SUBJECTS OF 

STUDY 

The Geography Films 

There are twenty-six reels in geography — of which 
nine are in the Forty Reel Library, eight more in the 
Eighty Reel Library, and nine more in the One Hun- 
dred Twenty Reel Library. 

In the Forty Reel Library four reels apply to the 
sixth grade, and five to both fifth and seventh. The 
gradation suggested is the usual one in American 
cities, but it must be remembered that the distribution 
of geographic subject matter through the grades is by 
no means uniform, and the teacher must use her judg- 
ment as to the grades. Thus the New York City 
Course of Study puts United States topics in fifth and 
seventh grades, while the Columbus, Ohio, Course di- 
vides the fifth year with South America, and puts Asia, 
Africa and Australia in the sixth year. Omaha puts 
Europe with Africa and Australia in the sixth year 
and studies the United States with Asia and South 
America in the seventh. 

The reels are about equally divided between the 
United States and Asia, with two in Cuba. 

Many schools do not continue geography into the 
eighth grade, but where this is done, it is usually an in- 

68 



neral Electric Co. 

Scenes from "Conquest of the Forest" — p. 67 



ANALYSIS OF THE FILM LIBRARIES 69 



tensification of the preceding work along the lines of 
physical geography. In this case, those films which 
emphasize physical features (as the first three) can be 
used over again. More often the eighth grade geog- 
raphy merges a review of United States geography 
with civics. The reels under Citizenship will illustrate 
civics. The Forty Keel Library geography films are 
about equally divided between the United States and 
foreign countries. 

The provision for substitute reels is very liberal, 
most of them being free, but some rental. By refer- 
ring to the Descriptive List of Films in the Libraries 
(Chapter III), the topic of each substitute may be 
found under the number given in the outline, also the 
address from which it may be obtained, and the price, 
if it is for rent. In general the topic covered is similar 
to the regular film in the outline, but sometimes, espe- 
cially in the case of free films, the similarity is only ap- 
proximate. The regular film written down in the 
outline should be selected wherever possible. 

In the Eighty Reel Library, three reels are added on 
Europe, one on Africa, two on Asia and one on Aus- 
tralia. South America does not appear. In such 
short courses all countries could not be included, and it 
seemed best to supply sufficient material to build up 
a fairly comprehensive knowledge of a few countries 
rather than attempt an ineffective stab at all. The 
Comprehensive Film List of Educational Films in 
Part II provides, of course, a well of educational films 
on all countries that can be freely drawn upon' by 
teachers at any time to supplement the regular courses. 
The Eighty Reel Library includes six films for the fifth 



70 MOTION PICTUEBS FOE INSTRUCTION 

grade, nine for the sixth and eight for the seventh in 
geography. 

The One Hundred Twenty Reel Library makes it ten 
for the fifth, nine for the sixth and twelve for the 
seventh. Four of the added reels are on Asiatic coun- 
tries, four on the United States (physical geography) 
and one on Europe. 

History 

The Forty Reel Library begins appropriately with a 
glimpse of three different types of the original inhabi- 
tants of America, and proceeds to a study of colonial 
life through historic landmarks and shrines. The free 
reels recommended as substitutes are really very good 
and can be used if it is necessary to reduce the expense. 
The series ends with a three reel presentation of one of 
the famous Chronicles of America Photoplays pro- 
duced by the Yale University Press— The Eve of the 
Revolution — and rounds out the story of our early 
struggles for liberty. This series is a rare instance of 
where scholarly educational production achieved popu- 
larity in the theaters. The rental is reasonable, con- 
sidering the cost of production. Here again the 
temptation was to include the whole series of fifteen 
historical screen dramas, but consideration for the 
limited financial appropriation of small city school sys- 
tems prevented this. However, the whole series thus 
far issued is given in the Comprehensive List of Edu- 
cational Films in Part II, from which additional selec- 
tions may be made according to the means of the school 
system. The three reels here given will take an hour 



ANALYSIS OF THE FILM LIBRARIES 71 



to run. The importance and educational value of this 
three reel subject justified a departure from the policy 
of short reels only for the classroom. There are no 
free reels that are in any sense substitutes for this num- 
ber, but for those who cannot afford it, three free 
scenics are cited. In the patriotic sense of 6 ' see Amer- 
ica first, " a slight justification can be found for their 
substitution. 

The Eighty Eeel Library in history starts with an- 
other of the Yale Chronicles of History, Dixie. Its 
three reels give some of the most thrilling episodes of 
the Civil War, and also a conception of the struggles 
and stress of the civilian population during war times. 
Picturing this critical period from another angle is a 
two reel excerpt from the noteworthy "Lincoln Cycle'' 
known as The Son of Democracy — ten episodes of two 
reels each in the life of the Great Emancipator. These 
were produced by Benjamin Chapin, who takes the 
part of Lincoln. Only these two typical reels of the 
series are included here, because in the One Hundred 
Twenty Eeel Library, the First National's wonderful 
photoplay, Abraham Lincoln (ten reels), is recom- 
mended. See the full Lincoln Cycle in the Comprehen- 
sive List of Educational Films, Part II. Tying up 
with the development of railroads and steamboats are 
two purchase reels showing the evolution of trans- 
portation by land and water. Two stirring reels on 
Eoosevelt represent the Spanish-American War 
Period. 

The history number in the One Hundred Twenty 
Eeel Library represents a radical departure from the 
short reel principle followed in this course. The rea- 



72 MOTION PICTURES FOR INSTRUCTION 

son is the remarkable nature of the film material. 
Abraham Lincoln, a ten reel feature play in hundreds 
of first run theaters, is perhaps the greatest educa- 
tional production extant for American schools. The 
First National Pictures has adopted a liberal policy in 
renting it to schools. The picture is, of course, too 
long for classroom use, but its exhibition is important 
enough to warrant the giving up of an afternoon or 
evening for the whole school and for the parents to 
see it. If it could come near Lincoln's Birthday or at 
some other patriotic occasion, the event might have 
double value. 

Citizenship 

The main purpose of schooling is good citizenship, 
and the editor of this course has been especially careful 
to include stimulating reels that furnish motivation for 
ethical conduct. In the Forty Reel Library the reels 
on immigration furnish the background, in story form, 
for the appreciation of America's basic opportunities, 
and present, in alluring form, the attitude which the 
good citizen should have toward his government. The 
reels are taken from the valuable series on Citizens in 
the Making, by F. S. Wythe, in use in the Los Angeles 
Schools and adopted for the school film course now be- 
ing conducted by the Neighborhood Motion Picture 
Service, Inc., in New York City. 

The simple and direct quality of these reels adapt 
them to any of the elementary grades. They are ac- 
companied by an elaborate booklet of lesson plans and 



ANALYSIS OF THE FILM LIBRARIES 73 



teacher helps * that forms a real contribution to the 
pedagogy of educational motion pictures. These reels 
are rented, at reasonable prices, and should find a place 
in every school system. One other reel is scheduled 
in the Eighty Reel Library. Only the cost prevents 
scheduling the whole series of thirteen lessons. 

If it is absolutely impossible for the school system to 
rent these reels, the free substitutes recommended may 
be used. These are An American in the Making — the 
growth of a foreign factory worker in American ideals 
— and Our Children which is issued by the United 
States Labor Bureau. 

In the Eighty Reel Library, Wythe's American 
Ideals is selected, for which a sort of free substitute 
is A Letter to Dad, a boy's club picture sent out by the 
United States Department of Agriculture. Three 
other reels, a rental film, Moulders of Manhood, and a 
free two reel film, make six reels dealing with civic 
ideals. 

The One Hundred Twenty Reel Library adds six of 
the Romance of the Republic's series, which can be 
rented. They deal with the various departments of 
the Federal Government in a more formal manner than 
the other reels mentioned. 

Attention is called to the Pathe Weekly News listed 
in the Comprehensive List of Educational Films. 
Many schools show one of these every week, either in 
history or civics classes, and they can be rented at very 
low rates. In the Current Events Course of the 
Neighborhood Motion Picture Service described on 

* See the two film lesson plans on Immigration in Chapter VI. 



74 MOTION PICTURES FOE INSTRUCTION 



pages 241 to 245, these Pathe News Weeklies are edited 
especially for school use, with selected events and 
stimulating questions. 

Nature Study 

Next to geography teachers, nature study and bi- 
ology teachers are the greatest users of educational 
films. The reason for this is that they are dealing 
with a type of material having preeminently life and 
motion, and that most of the actual animals are either 
unsuited for classroom use or very difficult to procure 
and keep. The magic of the film supplies this lack in 
a remarkably effective way, especially in small cities 
and towns where zoological collections do not exist. 
The standard zoological groups, such as mammals, 
birds, reptiles, etc., should be subject to constant illus- 
tration. These films should be purchased by the 
school and kept in the film library, as they are needed 
on many occasions and in many classes. 

In the Forty Reel Library the start is made with 
mammals because of their size, interesting appearance, 
and habits. Birds are undoubtedly next in our affec- 
tions, in familiarity, and in popularity with children. 
The two reels here recommended for purchase present 
a wide variety of each group. The rental and free 
reels as substitutes are confined to individual species. 
The four reels beginning with Bre'r Rabbit and His 
Pals (Rodents) are from the Pathe Screen Studies — 
a popularization of nature topics for elementary 
pupils, rather than a detailed " study," but they con- 
tain rare and interesting views of animals in action. 



ANALYSIS OF THE FILM LIBRARIES 



75 



The teachers y leaflets * accompanying all of these are 
models of modern classroom methods, and their general 
plan may well be followed in handling films for teach- 
ing purposes. The rentals are exceptionally reason- 
able. The free reels mentioned as substitutes may 
better be used as supplementary. 

The Eighty Eeel Library continues the series with 
four more of the screen studies — one on molluscs, one 
on the interesting subject of protective form and color- 
ing in the struggle for survival, one purchase film on 
reptiles, and one in general science on weather meas- 
urements and predictions. 

The One Hundred Twenty Reel Library gives op- 
portunity for introducing four of the greatest educa- 
tional films series thus far produced. Each of them 
has already become classic in the field. The first, How 
Life Begins, was produced by the pioneer biology 
film technician, George E. Stone, whose inventions and 
productions made clear to educators that motion pic- 
tures of microscopic animal life and tissues constituted 
classroom illustrative material of the highest teaching 
value. Other scientific pictures by Stone are listed in 
the Comprehensive List of Educational Films, Part II. 

The Four Seasons, produced by Raymond L. Dit- 
mars, curator of the New York Zoological Society, has 
had extensive theatrical, as well as educational, runs. 
While films produced from this double point of view 
usually suffer from the classroom point of view, the 
Four Seasons must be regarded as an exception. It 
is a wonderful exhibition of the succession of animal 
and plant life throughout the year, and is conceived 

* See one of these complete in Chapter VI. 



76 MOTION PICTUEES FOR INSTRUCTION 

and executed with unusual regard to beauty as well as 
science. Mr. Ditmars has produced a valuable series 
of zoological films (thirty-two subjects) all classified in 
textbook fashion. They are suited for high school 
and college classes and are not for rent. The whole 
series is listed in Part II, under Purchase Films, and 
one film from his Living Natural History Series 
(Planaria) is inserted in the One Hundred Twenty 
Reel Library as a purchase film. 

Tolhurst's Secrets of Life series rival those men- 
tioned above in scientific interest. It is noteworthy 
that, like Ditmars', Tolhurst's unusual studies at- 
tracted the attention of the theatrical producers and 
his science subjects are still popular as auxiliaries to 
feature programs. The full series is given in Part II 
under Eental Films. 

Language and Literature 

The best way in which the film can serve language 
classes is to furnish vital and thought provoking pic- 
tures for composition and conversation. Enlarging 
the circle of thought enlarges the vocabulary. A new 
thought, especially one involving imagery, forces new 
words. Thus any good educational film of travel, in- 
dustry, current events, or the like can be used to ex- 
cellent advantage for vocabulary building in language 
classes, and the teacher should draw freely from the 
Comprehensive List of Educational Films for this pur- 
pose. 

The lessons based on the United States Government 



ANALYSIS OF THE FILM LIBRARIES 77 



films used by Miss Aiton in teaching English to for- 
eigners are very suggestive, and one of them is given 
in Chapter V, Six Sample Film Lessons. 

Mr. Thompson, who is in charge of the Visual In- 
struction work at the School for the Deaf in Trenton, 
New Jersey, has done some stimulating work in getting 
language value out of film presentations. 

It is interesting that schools for special classes are 
our most frequent source of new methods, that later, 
somewhat modified, prove good for all education. So 
Hampton and Tuskeegee have taught the whole world 
the value of industrial education, and Montessori's 
work with backward children has made a great contri- 
bution to our kindergarten system. In like manner, 
schools for the deaf should be the world's great labra- 
tories for methods of instruction through the eye gate. 

In -addition to films that are made the basis of com- 
position, there are a few dealing with the lives and 
works of noted authors. Among the best of these are 
the Charles Urban series on Great American Authors. 
Five of these are pat in the Forty Eeel Library, and 
five more in the Eighty Eeel Library as rental num- 
bers. 

Relation of Films to Great Literature Still in 
Doubt. — A great number of films have been produced 
purporting to be representations of great literature, 
American, English and European. Many of them are 
such violent departures from the original that their 
exhibition to the school child would distort and well 
nigh destroy his own truer conceptions gained from 
the work itself. Others, while faithful in general to 



78 



MOTION PICTURES FOR INSTRUCTION 



the story, take liberties that make subtle changes, more 
mischievous because not so easily detected.* 

However, some film stories of great pieces of lit- 
erature do exist concerning which literary criticism 
has been generally favorable. These are listed with- 
out comment or recommendation in the Comprehensive 
List of Educational Films in Part II, but are not in- 
cluded in the Libraries. Their length alone makes 
them unsuited to classroom presentation, but they are 
available for school and community entertainments. 

The relation of book films to book reading is still 
a matter of investigation and debate. Some librarians 
have kept track of the increase in the calls for certain 
books when the film stories were being run. Whether 
the drawings were mostly after or before viewing the 
photoplays is not recorded — an unfortunate omis- 
sion. It is conceivable that many persons, having seen 
the photo play the "Hunchback of Notre Dame," 
might neglect reading the book under the false impres- 
sion that they have already had the story and spirit of 
the original. In other words, groups of people may 
view the film as a substitute or short cut for the book. 
The appreciation of literature would not gain by such 
procedure. Bernard Shaw, as reported by Archibald 

* "Discussing 'The Motion Picture and English Literature/ a pro- 
fessor of English at Brown University writes: 'If in general it is 
dangerous to supplant books by motion pictures, it is trebly so in 
literature. A motion picture can give only the facts of the case 
in action plus whatever elemental emotion these facts generate. If 
the motion picture accentuated the habit of thinking in bits it would 
not be a help but a menace. The best part of a novel cannot be trans- 
ferred to the screen. A coarsened, syncopated representation of the 
plot (as in Treasure Island) can be given, but that is all.' " — Motion 
Pictures in Education by Ellis and Thornborough. 



ANALYSIS OF THE FILM LIBRARIES 



79 



Henderson, puts in an incisive remark, drawing atten- 
tion to a similar situation between the drama and the 
inovie: "People see a ' Macbeth' film. They imagine 
they have seen 'Macbeth,' and when somebody comes 
to act the play, he finds the house empty." 

Movies, the Wrong Instrument. — Attempts to teach 
grammar with motion pictures have not been encour- 
aging. One such film observed recently, represented 
the parts of speech by children, who had various signs 
pinned on to them, and the relation of these parts of 
speech were shown by friendly greetings or fist fights. 
The effect was confusing and the picture absurd. 
These poor children and their instructor got in the way 
of the simple relationship which they were supposed 
to illustrate and thousands of dollars were wasted in a 
sad mixture of comedy and tragedy. A few slides, or 
a blackboard, or simple words and sentences in a book 
with a capable teacher to give the class practice in 
their use are still much more effective. One is re- 
minded by such misconceptions of "making things easy 
for children," of Montessori's notable words which 
expressed her disapproval of the overdose of "stor- 
ies" and juvenile "busy work" which passes for ex- 
pert primary teaching in some schools. Three words 
she gave her disciples : simplicity, brevity, truth. 
Their wise application in modern school work would 
brush aside great piles of pedagogical junk that clutter 
up school closets and recitation periods. 

The cause of visual education is injured every time 
motion pictures are applied to phases of education too 
abstract for picturing or for which simpler and 
cheaper forms of illustration are more effective. 



80 



MOTION PICTURES FOE INSTRUCTION 



Vocational 

Appreciating the fact that many of the school sys- 
tems using these film courses of study are in small 
towns with many of the children from rural communi- 
ties, and because, also, agriculture is as fundamental, 
and should be as familiar, to the urbanite as to the 
country boy, an unusual number of free films dealing 
with agricultural products and pursuits are included 
in the vocational unit. 

The other occupations illustrated are basic and are 
those with which most modern citizens are concerned, 
viz., automobile construction, radio, manufacture ot 
lumber, woolen cloth, and flour. Other occupations 
are illustrated in many of the scenic and other films 
(see the descriptive notes under each film), such as 
honey making, orange culture, sugar, logging, rice and 
copra growing, railroading, cheese making, fishing, 
X-rays, and the manufacture of iron and steel. 

Educational-Industrial Films (Advertising Films). — 
Hundred of excellent films illustrating scores of in- 
dustrial processes are catalogued in the Comprehen- 
sive List of Educational Films, Part II. Here is a 
fortunate situation indeed. Vocational Education is 
in great need of motion picture illustrations for the 
multiform industrial processes that cannot be repro- 
duced in the schoolroom or to which the children can- 
not be conveniently taken, and these industries them- 
selves have produced for free circulation the very films 
needed. 

Of course, some of these are spoiled by too much or 



ANALYSIS OF THE FILM LIBRARIES 81 



too obvious advertising, but those parts should be ig- 
nored in the subsequent study period by the teacher, 
and the more instructional views emphasized. Many 
of these "industrials" rush through the action of com- 
plicated machinery too fast for immature minds to 
grasp. Here is the place for using the stop-on-film 
shutter. The teacher should stop the head mechanism 
of the machine, and permit pupils to go up close to the 
still picture, pointing out details as desired. Further 
explanations by the teacher are essential, and to do 
this intelligently, opportunity should be given her to 
view the film before the class presentation. 

Many companies producing industrial films have dis- 
covered how to present the manufacture of their prod- 
uct with the minimum of advertising. The forms most 
acceptable to schools are where the label occurs inci- 
dentally on a package, or better still, where the only 
reference to the manufacturer is a brief leader or 
trailer like the following: 

This picture is shown through the courtesy 
of The Starlight Manufacturing Company, 
Cambridge, 0. 

Physiology, Health, and Welfare 

The One Hundred Twenty Reel Library in this sub- 
ject covers in brief the main topics in physiology and 
hygiene — viz., the eye, the ear, circulation of the blood, 
diet, vaccination, prevention of tuberculosis, and care 
of the teeth. The free films suggested include also di- 
gestion, and the human skeleton and vital organs 



82 MOTION PICTURES FOR INSTRUCTION 



viewed by means of X-rays. Several highly technical 
series, designed for medical students, will be found in 
the Comprehensive List of Educational Films, Part II. 

Athletics 

Modern athletics, with its abundance of action and 
intensive training systems, lends, itself excellently to 
motion picture instruction. Two of the athletic films 
in the Forty Reel Library are Grantland Rice Sport- 
lights (Pathe), which have proved as popular in the 
theater as in the schools. The Visual Text Book Pub- 
lishers of Los Angeles have produced a notable athletic 
series directed by great athletes. In the Eighty Reel 
Library we have placed Corrective Gymnastics as rep- 
resentative of the group, and because it is a subject of 
growing importance to the physical development of the 
whole student body, rather than to the few on the 
teams. The One Hundred Twenty Reel Library adds 
Coach Rockne's great reels on Fundamentals of Foot- 
ball, and a short reel of the golfing form of the cham- 
pion, Bobby Jones. The free substitute reels in this 
series relate to general outdoor sports. 

Mathematics, Physics, and Chemistry 

Movies, the Wrong Instrument Again. — Educators 
will notice the absence of films on these subjects. 
They are omitted, not because such films do not exist, 
but because, in the opinion of the author, motion pic- 
tures do not furnish economical illustrations for these 
subjects. Most mathematical rules and operations are 



ANALYSIS OF THE FILM LIBRARIES 83 



reduced to verbal formulae, that function best in the 
memory when freed from concrete limitations. "Where 
reasoning is called for, the terms of the equations used 
are these verbal expressions that work best when re- 
duced to abstractions. Geometry, the apparent ex- 
ception to this statement, is so easily and cheaply illus- 
trated with the blackboard and pencil, that it is an 
almost criminal waste of school funds to use them in 
the production or purchase of such films. Such ex- 
penditures can be justified in the experimental labora- 
tory where curious things are produced, but not in 
public school classrooms. 

Any psychologist knows that abstract thinking is 
more frequently hindered by attempts at illustration 
than otherwise. There is a film which attempts to 
illustrate the Einstein Theory, and eminent educators 
are quoted in praise of it. If it really makes; the 
theory clear to the lay mind, it will represent a vic- 
tory over the printed word greater than any respon- 
sible movie advocate has yet claimed. The latest at- 
tempt of this kind is a film in explanation of the 
Freudian theory of psychoanalysis. But metaphysics 
and philosophy ordinarily do not present favorable 
fields for educational motion pictures. 

Many topics in physics can be clearly illustrated by 
motion pictures, as many electrical films and films on 
other mechanical processes show. However, except in 
the case of large and expensive installations, the laws 
of physics can be better illustrated with the simple and 
well-known pieces of apparatus in the hands of the in- 
structor. Films exist to show the attractions of mag- 
nets for iron filings, but an inexpensive magnet and 



84 MOTION PICTURES FOR INSTRUCTION 

bits of waste iron are more practical classroom illus- 
trations. The film would cost $100.00 ; the magnet and 
filings, a few cents. 

In general, we must not forget that the best possible 
illustration in the classroom is the object itself ; and 
when this object is inexpensive and easily handled, it 
is absurd to spend money on a film. 

Some very elaborate and technical films in physics 
have been produced in college and technical laborato- 
ries. These are concerned with costly installations not 
possible to many school systems. While they are very 
valuable for technical students, they lie beyond the 
scope of these outlines. They can be found listed in 
Part II. 

So also in chemistry, to show the eff ect of oxygen in 
combustion by means of a film is to do at great cost 
what could be done better at little or no expense by the 
teacher himself with a match, a few combustibles and a 
blackboard in the classroom. Highly technical proc- 
esses in chemistry, are a different matter, and some 
films of this nature are listed in Part II. They are not 
suitable for elementary school classrooms. 



CHAPTER V 



SIX SAMPLE FILM LESSONS 
(Teachers' Leaflets) 

1. Bre'r Rabbit and His Pals (Rodents)— Pathe 
Screen Study. 

2. California's Wonders — DeVry Library. 

3. Milk as Food — Ford Educational Library. 

4. Uncle Sam, World Champion Farmer — Report by 
Miss Maude E. Aiton and Mrs. Helen C. Kiernan. 

5. Twentieth Century Pilgrims (Immigration) — 
From Wythe's Citizens in the Making — Neighbor- 
hood Motion Picture Service, Inc. 

6. Steps Toward American Ideals — Neighborhood 
Motion Picture Service, Inc. 

The advent of the motion picture into the classroom 
is so recent that any dogmatism at this time concern- 
ing methods of using it for teaching purposes would 
be premature. The best practice at the present time is 
for each teacher to work with it until she finds the ways 
which produce the best results. 

Experimental studies, as far as they have been re- 
corded, are valuable for data for further experimenta- 
tion, but of little use for conclusions. The day of 
conclusions and generalizations in motion picture 
pedagogy has not yet arrived, though some published 
studies have hard work to keep from forcing conclu- 
sions. All experiments to date are too brief, too 

85 



86 



MOTION PICTURES FOR INSTRUCTION 



limited in environment and personnel to formulate 
laws of procedure. A mere change in the teacher, in 
the group of children, in the character of the film used, 
in the type of projector installed, in classroom instead 
of assembly room showings, might change any of the 
results too radically for safe deduction. 

The refinements of some of the tests used and the 
mathematical computations made with graphs and co- 
efficients of correlation formulae, etc., may give an ap- 
pearance of conclusiveness to the experiments, that the 
conditions under which the experiments proceeded do 
not justify. Many questions are far from settled : 

Should the film be used before or after a topic ! 
Should teachers talk while the film is running ! 
Should pupils talk ? 
Should slides be used with the films ? 
Should dark rooms be used or light ? 
Should this or that type of projector be used ? 
Should we stop on certain pictures and elaborate ? 
Should we stop on titles ? 

Should still subjects ever be shown on motion pic- 
ture film ? 

Should animated diagrams be used ? 

Should industrial (advertising) pictures be allowed 
in the schools ? 

Are dramatic films permissible in the schoolroom? 

Should teachers use one reel pictures or five? half 
reels or quarter ? 

Should the picture be shown once, twice or three 
times? 



SIX SAMPLE FILM LESSONS 



87 



A number of similar questions are all subject to 
many more trials than have been given. When thou- 
sands instead of scores of teachers have used films 
under varying conditions and for a series of years, we 
may begin to draw conclusions. For the present, the 
pressing need is to use this new and wonderful tool 
over and over again, to observe effects, to record re- 
sults, to confer on procedure, and to avoid snap judg- 
ments. 

Experienced teachers know, of course, that the film 
is only one tool in the teacher's kit; that it will be 
helpful if used skilfully, harmful if used thoughtlessly. 
Its tremendous influence in the theaters shows that it 
has great possibilities for work in the schools when put 
into the proper harness. How to find that harness, 
how to find the peculiar values that it can add to other 
valuable teaching aids, is a matter just now necessitat- 
ing a much greater amount of practice, practice, prac- 
tice, and eternal vigilance, to discover weaknesses and 
strength. 

One of the best things to do in the midst of the flux 
of methods, is to study some methods that have shown 
a measure of success, and print them in sufficient detail 
for others to study and try out. This is the author r s 
reason for inserting here several interesting examples 
of "method sheets," pedagogical leaflets, teaching 
helps, etc., that have been worked out with certain 
films. The six sample film lessons which are given on 
the following pages represent diversity both in subject 
matter and in method. 



88 



MOTION PICTURES FOR INSTRUCTION 



Film Lesson I 

teachers' aid on bre'r rabbit and his pals * 

(Rodents) 

Application 

Biology — Zoology — Nature Study 
The Titles 

1. BR'ER RABBIT AND HIS PALS 

2. FROM THE SERIES OF 
FASCINATING NATURE STUDIES 

ON 

3. WONDERS OF LIFE 

IN THE 
PLANT AND ANIMAL WORLD 

4. This series pictures typical living specimens 
of Every Branch in Zoology, from the lowest 
and simplest forms of one-celled animal life up 
to the highest, of the most intelligent mammals. 

5. "Rodents" form by far the largest Order of 
Mammals, there being over 1,000 species. 
They are small and for the most part ground 
animals, though some live in trees like Squirrels 
and others in or around the water like Beavers. 

6. Other common Rodents are Rabbits, Go- 
phers, Chipmunks, Prairie Dogs, "Woodchucks, 

Guinea Pigs and Mice. We will have a little 
study of these and some others. 

7. In the head of our gentle Bre'r Rabbit are 
found the kind of jaws and teeth that distin- 

* From Pathe Screen Studies. 



SIX SAMPLE FILM LESSONS 



guish this whole Order of Animals. Notice the 
sharp projecting front teeth, called "Inci- 
sors." 

8. Now watch them work. This is why this 
whole class of animals is called "GNAW-ERS." 

9. No other animal is without the teeth between 
incisors and the molars, as the Rodents are. 
Now let us see the way the back teeth grind and 
grate. 

10. This Bunny, we call the "Snowshoe Hare." 

11. See why? 

12. As any rabbit knows, a very fine protection 
against enemies is a good thick briar bush. 

13. Besides the hunter, he has as other en- 
emies, the blood-thirsty ermine and mink. 

14. He can show speed in getting out of their 
way. 

15. The Cottontail is another member of the 
family. Can you find Peter, Flopsy, Mopsy 
and little Molly? 

16. Another division of Rodents is called the 
"Squirrel Family.' ' Here is a good example 
of the Tree Squirrel. 

17. His nest. 

18. This man is clever in the use of the squirrel 
trap. But why not leave the little animal to the 
freedom of the woods ? 

19. In captivity. Longing for freedom. 

20. The pests that cause the world more trouble 
than any other rodents are Mice and Rats, the 
sly little rascals ! 

21. It's bad enough to try to catch mice when 



90 MOTION PICTURES FOR INSTRUCTION 

they just run, but when they can go in leaps and 
bounds like this . . . 

22. You are right — this is no ordinary specimen 
of a house mouse — but a "jumping mouse" or 
Jerboa, that lives in places like this. 

23. The Jerboa uses his front paws as pick-axes, 
and his hind feet as shovels to get rid of the 
loosened sand. 

24. Do you see why this class of animals is called 
Gnaw-ers? The struggle to get out of his 
prison. 

25. The kind of Eodents that live under the 
ground, and that is most of them, are great 
engineers. This Prairie Dog will show us how 
he provides a suitable home. 

26. Here is a diagram of a typical burrow. 

27. The alarm — and how they can yelp ! 

28. Even the tiniest toddler obeys. 

29. As a whole, Eodents do far more harm than 
good. They destroy millions of dollars worth 
of crops of vegetables, grains and even fruits. 
This little Marmot is fond of grapes. 

30. One of the most fascinating stories of the 
wonders of nature is that of how some animals 
sleep all through the winter. Mr. Woodchuck, 
will you please show us how it is done? 

31. He 's fat — and he 's Oh, so sleepy — Good- 
night ! 

32. Months have elapsed. It's past mid-winter. 
Let's have a look. 

33. In cases of the most complete Hibernation 
(winter sleep), breathing of the animal nearly 



SIX SAMPLE FILM LESSONS 



91 



ceases, so that he could be kept alive under 
water, while asleep, for twenty minutes. But 
the heart still beats. Think of it ! That keeps 
the life current going. 

34. But when the morning of the real Spring 
arrives (early April) Mother Nature awakes 
her child and out he comes. 

35. Many little animals of this class come out of 
their homes only in the evening. Why? Here 
is a Moonlight Serenade. 

ADDITIONAL INFORMATION 

Among the most common Rodents we have Rabbits, Hares, Por- 
cupines, Guinea Pigs, Rats and Mice, Beavers and the whole Squirrel 
Family, which includes among the Tree Squirrels, the Fox Squirrel, 
Red Squirrel and Gray or Black Squirrel. Then there are in this 
family the Chipmunks, the Ground Squirrels, perhaps more com- 
monly called Gophers, the Prairie Dogs and Woodchucks, also called 
Ground Hogs. The Little Marmot, shown in the film, corresponds 
in Europe to our Woodchuck. 

The most universal and common rabbit is the Cottontail, found 
all over the U. S. There are several species of Jack-rabbits, limited 
mostly to the plains and mountains west of the Mississippi. Rabbits 
multiply very rapidly. The fur of Australian rabbits is used in 
making boas, muffs, hats and trimmings, but the fur of the Ameri- 
can rabbits is not used much except by the Indians. The damage 
of rabbits is not very great to large cultivated areas but they do 
occasionally injure wheat and alfalfa fields. Their damage is more 
serious to vegetable gardens. Rabbits are very good eating, espe- 
cially the younger ones. Rabbit drives take place in some parts of 
the country at which as many as ten thousand to twenty thousand 
rabbits are killed at a single drive. 

Mice and Rats, especially Rats, are by far the worst of all mamma- 
lian pests. Not only does their annual damage, the world over, to 
food and stored products amount to hundreds of millions of dollars, 
but we have learned that they carry the disease germs of the dreaded 



92 MOTION PICTURES FOR INSTRUCTION 



Bubonic Plague. Modern methods of fighting Rats are to cut off 
their food supply and to destroy, as far as possible, their breeding 
places. 

We find the Squirrel Family very interesting from many different 
standpoints. Although the Squirrel proper which we show in the 
picture is a Tree Squirrel, there are also the Chipmunks, and Ground 
Squirrels. A brief touch is given in this picture showing how re- 
markable these little animals are as "engineers" using their paws 
and nose and tail as tools to build their mounds and burrows. No 
better example is given of colonization than among the Prairie 
Dogs. They live in colonies numbering all the way from 40 to 1,000 
individuals. The Woodchuck, also known as the Ground Hog, does 
not live in colonies. The story about his coming out of his hole 
in February to find out if his shadow can be seen, which predicts 
the amount of time that Winter is to last, is clearly a myth. The 
example that we find in this picture shows how soundly he hibernates 
all winter long. One interesting characteristic of the Squirrel 
Family is the well-known one of his ability to lay up provisions. 
On the whole, Tree Squirrels are not very great pests, but the ground 
variety does considerable damage. However, they compensate in a 
measure for this by eating many destructive insects such as grass- 
hoppers, cut-worms, beetles, etc., often, too, killing Mice and other 
small noxious animals. 

Suggested Questions 

1. To what general class of animals do Eodents 
belong? About how many species are there in 
this Order? How does this compare in size with 
other Orders? 

2. Name all the animals that you remember having 
seen in the picture. What Eodents do you know 
of that you did not see pictured ? 

3. What is the one predominating characteristic of 
these Animals that classifies them as Eodents? 

4. Of w^hat use are these animals? Do they do 
more harm than good, or vice-versa? Which 



SIX SAMPLE FILM LESSONS 



93 



ones would you choose for pets? Which ones 
are the worst pests and why? 

5. Why does the "Snowshoe Hare" bear that 
name? Do all Squirrels live in trees? Would 
you trap Squirrels and keep them in captivity? 
What other animals belong to the Squirrel Fam- 
ily besides those commonly known as Squirrels? 

6. What Rodents live under the ground and why 
do we call them expert engineers? Describe the 
way they work and a typical burrow. 

7. What is meant by hibernation? Describe it, 
definitely locating seasons of the year in which 
its chief events take place. Name some other 
animals besides Woodchucks that hibernate. 

8. Is the food of Rodents chiefly animal or vege- 
table? 

References 

Economic Zoology — By Kellogg and Doane — Pub- 
lished by Henry Holt & Co. 

Practical Zoology — By Hegner — Published by Mac- 
millan. 

Zoology — Descriptive & Practical — By Colton — 

Published by Heath & Co. 
A Text Book in General Zoology — By Linville & 

Kelley— Published by Ginn & Co. 

Film Lesson II 

teacher's leaflet for "California's wonders" 

(DeVry Library of Film Negatives) 
(The directions, questions and references given are 



94 MOTION PICTUEES FOR INSTRUCTION 

more than a teacher will use in a lesson. She is ex- 
pected to select only those most available or pertinent 
to the general tenor of her work, and, of course, to add 
others if she thinks that they are needed for her pur- 
poses.) 

I. Preview of Film by Teacher — with notes of im- 
portant points (stop-on-film). 
II. Oral Introduction and Map Study for the 
Class. 

Show a slide map on screen, a wall map, or a 
blackboard map of the United States. 
Estimate how far it is from Chicago to Wash- 
ington, D. C. (787 miles). 
Now look at the State of California. It is ex- 
actly that far from the north to the south line 
of California — the longest state in the Union. 
It is so big it has every variety of land and 
water features — mountains, lakes, glaciers, 
deserts and enormous forests. 
Find the Sierra Nevada Mountains. Find the 
Coast Eange. 

The great valley in between is very rich. 
Find Mt. Lassen on the west side of Sierra 
Nevada. It is the only volcano in the U. S. 
We will see it in pictures soon. 
Find the Yosemite National Park — it's twice 
as large as Cook County. 

Find the San Bernardino Mountains. One of 
the peaks is just outside of Eiverside. It is 
called Mt. Eoubidoux. An interesting thing 
takes place every Easter on this mountain. 



SIX SAMPLE FILM LESSONS 



Remember where it is when yon see the pic- 
ture. 

III. First Showing of Film to Class. ( Scenes, with 
teacher's remarks and questions.) 
1st. Scene — Mt. Eoubidoux. As this scene is 
run the teacher asks, "Near what city is Mt. 
Eoubidoux ! ( Pasadena . ) 
2nd. Scene — A fallen giant (stop-on-film). 
"How tall is the girl?" "Is the diameter of 
the tree twice as long?" This tree is in Mari- 
posa Grove in Yosemite Park. Some of Cali- 
fornia 's big trees are 40 feet through and 300 
feet high. That 's higher than a 20 story 
building. 

3rd. Scene — Mt. Lassen (stop-on-film). 
Smoke is frequently seen issuing from the 
crater of this volcano. Where did we find Mt. 
Lassen on the map? (In Shasta County; al- 
most due south of Mt. Shasta.) 
4th. Scene — Yosemite Creek takes a leap of 
2,670 feet in three jumps (stop-on-film). The 
Merced Biver (mercy) of which the Yosemite 
Creek is a branch, carved out the Yosemite 
valley in prehistoric times. It is a mile deep 
in places. 

5th Scene — The Three Brothers. Here are 
two of the famous formations, the Three 
Brothers. 

6th Scene — El Capitan. El Capitan means 

"the captain" in Spanish. 

7th Scene — Winter Sports in Summer. 

8th Scene — Mirror Lake. 



96 MOTION PICTURES FOR INSTRUCTION 



9th Scene — Lake Tahoe, celebrated as the 
highest lake in the United States. 
10th Scene — An Ostrich Farm at Truckee. 
IV. Follow-up Work 

(Self -activity of pupils in research, construc- 
tion, or recitation. Project work.) 
1st. Look in the encyclopedias, geographies, 
and atlases, guide books and books of travel 
for other famous features of Yosemite Valley. 
Each one bring a picture or tell a fact about 
Yosemite Valley. 

2nd. Which is larger, Yosemite Valley or 
Cook County? (Cook County, Illinois, is 933 
square miles. Yosemite Valley is roughly 1 
mile by 8 miles long.) How estimate? (Use 
the scale of miles on map.) 
3rd. How old are the big trees of California? 
(One over 3,000 years.) How- can scientists 
tell the age of trees? (By the annual rings 
formed by the new growth in the cortical 
layer.) 

4th. The cross on Mt, Roubidoux is in honor 
of the first missionary priest to visit the Coast 
of California. What was his name? (Padre 
Junipero Serra.) 

5th. Name animals peculiar to Australia. 
(Kangaroo, duckbill, kiwi, cassowary.) 
Helps for Research. 

Article on California — p. 576, Volume 2, 
Compton's Pictured Encyclopedia. 
Carpenter's United States. 
Stoddard's Lecture on Yosemite. 



SIX SAMPLE FILM LESSONS 



97 



Railroad booklets : 
Southern California, Union Pacific; On 
Your Way, Eock Island; Along the Union 
Pacific System; Wayside Notes Along the 
Sunset Route, Southern Pacific. 
Second Showing of Film to Class 

During the follow-up work on the second day, 

or at its close, the film should be run again to 

clarify concepts, or furnish stimuli for student 

recitation or composition. 
Further Illustrative Material : 

free films (See descriptive notes in Part II). 

Journey Through the Valley of Heart's Delight — 2 reels 
— Castle. 

San Francisco — Castle. 

Sentinels of the Sunset — U. S. Ag. 

Sixty Minutes from Broadway (Los Angeles) — Castle. 

Story of the Orange — Leggett. 

The Golden Gift (Orange)— Castle. 

Romance of the Lemon — California Fruit Growers Ex- 
change, San Francisco. 

Story of our National Parks — White Motor Company, 
6611 Euclid Ave., Cleveland, 0>. 

Touring California's Ports — Castle. 

Roads to Wonderland — U. S. Ag. 

Highroads and Skyroads — U. S. Ag. 

Winged Guardians of the Forest — U. S. Ag. 

SLIDE SETS. 

Yosemite— 39 slides— (DeVry Set) Standard Slide Cor- 
poration, 209 W. 48th St., New York City. 

Nos. 36, 48, 59 and 81— (De Vry Primary Set) Standard 
Slide Corporation, 209 W. 48th St., New York City. 

600 set — Keystone View Co., Meadville, Calif. 

Famous Missions of California — 60 slides — Victor Ani- 
matograph Co., Davenport, Iowa. 



98 



MOTION PICTURES FOR INSTRUCTION 



California — 53 slides — Victor Animatograph Co., Daven- 
port, Iowa. 

San Francisco — 41 slides — Victor Animatograph Co., 

Davenport, Iowa. 
Panama Pacific Exposition — 70 slides — Victor Animato- 

graph Co., Davenport, Iowa. 
University of California — 15 slides — Victor Animato- 

graph Co., Davenport, Iowa. 
California — William Brown and Earle, Inc., Philadel- 
phia. 

Yosemite — William Brown and Earle, Inc., Philadelphia. 

San Gabriel Valley and Pasadena — William Brown and 
Earle, Inc., Philadelphia. 

Los Angeles — William Brown and Earle, Inc., Philadel- 
phia. 

San Diego — William Brown and Earle, Inc., Philadelphia. 
Big Trees — William Brown and Earle, Inc., Philadelphia. 
Palo Alto — William Brown and Earle, Inc., Philadelphia. 
Missions — William Brown and Earle, Inc., Philadelphia. 
Sierra Nevada Mountains — William Brown and Earle, 
Inc., Philadelphia. 

PRESS PICTURES. 

Pictorial Geography Series — National Geographic Society, 
Washington, D. C. 

Should further work on California be undertaken, 
topics should be divided up for assignment. Cooper- 
ative research and report should be made (seminar 
method). The study would then take on the propor- 
tions of a project. To add concreteness to the study, 
visits may be made to any local features which would 
serve for comparison with California. For Chicago 
pupils, the Lincoln Park Zoo for ostriches, seals, etc., 
Field Museum for orange culture and other character- 
istic California products. 




Courtesy of Ford Motor Co. 

Scene from "Milk as Food" — p. 99 



SIX SAMPLE FILM LESSONS 



99 



Synopsis of Sub-Titles 

Picturesque Keligious Ceremony held annually on 

Mount Rubidoux, California. 
A Fallen Giant, California. 

Mount Lassen — only active volcano in the United 

States keeping quiet to have its picture taken. 
Beautiful Yosemite Falls, California. 
The Three Brothers, Yosemite. 
Majestic El Capitan, Yosemite. 

Winter Sports in Summer — snowballs, skiing and to- 
bogganing. 
Mirror Lake — with Reflections. 
Lake Tahoe. 

An Ostrich Farm, Truckee, Calif. 

The Ostrich, native of Australia, is one of the strange 

survivals of giant animal species, found only in that 

island. 

Film Lesson III 

AGRICULTURE * 

(Milk as Food) 

Educational Purpose 

Milk is nearly an ideal food as it requires less than 
two hours for complete digestion. A chemical analy- 
sis shows milk to be a complete food, having all the ele- 
ments that are required to build up and keep the body 

* Copyrighted, 1922, by the Ford Motor Company. 



100 MOTION PICTURES FOR INSTRUCTION 



in repair. Besides being a nearly perfect food, it is 
a cheap food. 

The Milk as Food film, is designed to give an intelli- 
gent conception of the methods of handling and safe- 
guarding milk from the cow to the consumer. Milk 
as Food presents clear information upon the milk 
problem. A model dairy is visited and each step in 
caring for the milk is examined. Diagrams show the 
constituents of milk and the food value of each. 
Definite suggestions are made for the proper care of 
milk in the home. The value of milk for rapidly build- 
ing up undernourished children is emphasized. 

Milk as Food visualizes the necessary facts for les- 
sons upon the geography of a common food. The in- 
formation presented is a definite aid in domestic 
science, dietetics and elementary agriculture. 

Titles of Scenes. 

(The following titles are exactly as they appear 
upon the film.) 
i. 

Cow's milk is the cheapest and most nourishing of 
foods. It forms one-fifth of our diet. Seventy-two 
per cent of the babies live on cow's milk. 

H. 

The best bred cow gives the finest milk. Green 
pastures with running brooks are chosen for the dairy 
farm. 

in. 

The Jersey cow gives the richest milk. The Hol- 
stein's milk is almost like the mother's milk. 



SIX SAMPLE FILM LESSONS 



101 



IV. 

The milk from this peaceful Holstein herd goes to a 
great city. The milk supply of a city is an important 
health problem. 

v. 

At sunset the cows come to the dairy barn. 

VI. 

Sweet and clean, without flies or dust is the dairy. 

yn. 

Each cow finds her place which is marked with her 
name and number. 

VIII. 

Hay and grain are fed when the cows are kept in- 
doors. 

IX. 

Each cow is sprayed and the floor is washed clean. 

x. 

Before milking each cow is wiped with a clean cloth, 
which keeps dust and dirt out of the milk. The milk- 
ers wash their hands and dress in clean white suits. 

XI. 

The warm fresh milk is drawn from the cow into a 
pail through a cloth cover. 

XII. 

The milk of each cow is weighed. A careful record 
is kept. Low yielders are taken out of the herd. 
Some cows give 28 quarts daily. 

XIII. 

The milk is strained and cooled. 

XIV. 

It is tested for butter-fat. 



102 MOTION PICTURES FOR INSTRUCTION 



xv. 

The food value of milk. (Diagram) 

XVI. 

Bacteria and harmful germs grow rapidly in warm 
milk. It must be kept at 50 degrees or lower. Large 
dairies have special cooling rooms. 

XVII. 

Pasteurization means to heat milk to 155 degrees for 
for thirty minutes. This prevents the growth of 
harmful germs. Our largest cities insist upon this 
process. It protects the babies. 

XVIII. 

Steam and hot water are used to keep the bottles 
clean. 

XIX. 

After pasteurizing and cooling, the milk goes 
through pipes to the bottling machine. 

xx. 

The bottles are capped and the milk must be at your 
door within 36 hours. Stale milk is dangerous for 
babies and not fit for adults. 

XXI. 

The cow gives the rich milk and mother keeps it 
clean and cold. Then we thrive — 

XXII. 

Milk is the food highest in growth-producing 
material, mineral salts and vitamines. Babies live on 
it. Children from two to twelve years require for 
healthy growth a glass each meal. 

XXIII. 

Milk is liquid meat, without waste and easily di- 
gested. 



SIX SAMPLE FILM LESSONS 



103 



XXIV. 

In cities, less than half a pint of milk is consumed 
daily by each person. More milk used in your family 
means better health and a cheaper diet. 

xxv. 

Milk is an ideal food for it supplies all the needs 
of the body. (Diagram) 

MILK AS FOOD. 

L COW'S MILK. 

Milk is the cheapest and most nourishing of foods. 
Milk and milk products form about one-fifth of our 
diet. It is the one food that is a necessity, for seventy- 
two per cent of the babies are raised on cow's milk. 

Great care is devoted to the breeding of milk cows. 
The Holstein cows shown in the film are the best pro- 
ducers and their milk resembles closely the mother's 
milk. A thoroughbred Holstein will give daily twenty- 
eight quarts of milk. The Holstein cows are kept in 
the dairies which sell raw milk. The Jersey and 
Guernsey cows give a richer milk but not as much as 
the Holstein. The dairy herd, whose milk is used for 
butter making, consists of the Jersey or Guernsey 
cows. 

The dairy cow requires grassy pastures with cool 
streams and shady frees. It is very important in the 
production of milk, that the cows be quiet, contented 
and comfortable. The Holstein herd in the film is 
shown under ideal conditions for pasturage. 

II. THE MODERN DAIRY. 

Formerly, the milk on the farm was cooled in the 



104 MOTION PICTURES FOR INSTRUCTION 

spring house and it was given no more attention. In 
handling large quantities of milk, the spring house has 
been replaced by the modern dairy. The building, 
shown in the film, houses more than one hundred cows. 
It has clean cement floors, it is well ventilated and 
lighted. The dairy is carefully screened and contains 
no flies. Dust and dirt are prevented by sprinkling 
the floors. 

Each cow has its stall marked with her name and 
number as shown. All stalls are scrupulously clean. 
Near the cow is a stream of pure spring water, and the 
food manger is a cement basin. 

III. THE CARE OF MILK. 

In grandfather's day, the cows were driven home 
from the pasture to the barn and the milking was done 
in the evening. Flies were troublesome. The cow's 
tail would flirt dirt into the pail, and sometimes the cow 
would be unruly and the milk spilled. In the modern 
dairy the milking is done very quietly and in a sanitary 
manner. Each milker is required to wash his hands 
before and after each milking. They wear clean white 
suits. Each cow is wiped clean of the dust and dirt. 
The udders are carefully cleaned with a solution of 
boric acid. The pail has a cloth cover to strain the 
milk. The largest dairies use a milking machine, 
which is a great labor saver. It is operated by elec- 
tricity and is a great aid to the dairyman who has a 
large herd. 

The milk of each cow is carefully weighed as shown 
in the film. A careful record is kept of the yield of 
each cow, and those having a low yield are taken out of 



SIX SAMPLE FILM LESSONS 



105 



the herd. Some of the cows in this herd give twenty- 
eight quarts of milk daily. It is necessary to know the 
yield of each cow, otherwise the dairy will not pay. 
This is the reason for the careful selection of the cows 
in the herd. 

After the milk is obtained you will see it taken to a 
part of the dairy where it is strained and' cooled. 
Samples of the milk are tested daily. The milk varies 
in quantity as well as quality. All raw milk shipped 
into the cities must be of a certain standard in qual- 
ity. The city department of health employs milk in- 
spectors who sample and test all milk sold. Milk that 
is stale or contains germs is destroyed. 

IV. THE CONTENTS OF MILK. 

Milk is an emulsion of fat in a water solution of 
casein, milk, sugar, albumin and mineral matter. Milk 
from different cows or the same animal varies in its 
composition from time to time. 

The average composition of milk is as follows : 

Water 87.0 per cent 

Fat or butter-fat , 4.3 per cent 

Proteid or casein 3.0 per cent 

Milk sugar 5.0 per cent 

Albumin and mineral each less than 7 per cent 

The film diagram shows the constituents of milk. 
It is well known that the fat is used in making butter 
and the casein is made into cheese. Where the milk is 
sold raw it contains all its natural parts. Sometimes 
milk is evaporated and sold as condensed milk. Milk 
is also made into milk powder which is a convenient 
form. 



306 



MOTION PICTURES FOR INSTRUCTION 



V. PASTEURIZATION. 

Milk even when handled under the most favorable 
conditions contains bacteria and frequently harmful 
germs which increase rapidly if the milk is warm. 
Milk must be kept at fifty degrees of temperature or 
lower. All large dairies have special cooling rooms 
similar to the one pictured. 

When milk is shipped a long distance it must be 
Pasteurized. This is done by heating it to a tempera- 
ture of 155 to 160 degrees for 30 minutes. This treat- 
ment destroys the germs of diphtheria, scarlet fever 
and other diseases. Pasteurizing protects the user but 
does not change the nutritive properties of the milk. 
Pasteurization is the discovery of the famous French- 
man, Pasteur. Nearly all the large cities insist on this 
treatment of milk for it is a protection to babies. The 
improper care of the milk by any of the many people 
who handle it means suffering and frequently death to 
the babies. 

VI. BOTTLING THE MILK. 

A few years ago milk was delivered by the milkman 
whose wagon carried the large tin milk cans. The 
amount required by the housewife was dipped out. 
The modern dairy bottles all the milk that is sent to the 
city. We can see how carefully the bottles are cleaned 
with steam and hot water. Automatic machinery fills 
the bottles with the cool milk and they are sealed with 
paper caps. Every precaution is used to protect the 
milk from contamination by dust, dirt or other 
impurities. The bottles are packed in boxes and 



SIX SAMPLE FILM LESSONS 



107 



loaded upon special milk trains which go to the city. 

VII. DELIVERING THE MILK. 

The milk is delivered in a large city by means of 
motor trucks and wagons. The delivery starts early 
in the morning and the milk of the previous evening is 
on your doorstep for breakfast. It is very important 
that it reaches your table before it is 36 hours old. 
Stale milk is dangerous and not fit for babies or adults 
to use. New York City consumes nearly 2,000,000 
quarts of milk daily. This supply is obtained from 
80,000 cows, some of which are more than 300 miles 
from the city. 

VIII. CARE OF THE MILK IN THE HOME. 

The milk in the home must be given proper care, or 
it will quickly spoil. It must be kept cool and not be 
exposed to dust or dirt and placed in clean covered 
dishes. It is very necessary that the home care of the 
milk be entirely sanitary, or the scientific work of 
the dairy will be of little benefit. Care, Cold and 
Cleanliness are the three C's necessary to keep milk 
pure. 

IX. THE FOOD VALUE OF MILK AS COMPARED WITH OTHER 
FOODS. 

Sometimes we think milk is not a food because it is 
liquid. It is a fact that a quart of milk has the food 
value of eight and one-half eggs or eleven ounces of 
sirloin steak. The film diagram should be given very 
careful attention as it shows the value of milk as com- 
pared with other foods. 



108 MOTION PICTURES FOR INSTRUCTION 



X. MILK IN THE DIET OF GROWING CHILDREN. 

Cow's milk for bottle-fed babies requires the great- 
est care and attention in its preparation. The mother 
should realize that cow's milk must be modified for the 
baby and unless care is exercised the baby's health is 
endangered. 

Milk is a necessity to children until twelve years of 
age to assure a rapid and steady growth. Milk is a 
food easily digested, rich in growth-producing materi- 
als, protein or muscle builder, mineral salts and vita- 
mines. The standard diet of meat, potatoes and bread 
is very low in lime and vitamines ; the milk corrects this 
defect. A pint of milk contains as much lime as twelve 
pounds of meat or four pounds of bread. The lime is 
necessary in the childhood stage of bone formation. 

Aids in the Presentation of the Film 

general suggestions 

To obtain full appreciation of the information pre- 
sented in the Milk as Food film, the group to whom it is 
presented should be prepared for it. The titles of all 
the scenes should he read and discussed before the film 
is shown. The synopsis suggests subject matter which 
will make the film of greater educational value. The 
subject Milk as Food, is so important to the health and 
welfare of every community, that the lesson presented 
is one of practical value in any schoolroom or in a com- 
munity gathering. When the titles appear upor, the 
screen, they should receive careful attention. After 



SIX SAMPLE FILM LESSONS 



109 



the film has been shown, questions and discussions 
serve to increase the interest. 

The synopsis gives the instructor full information of 
the content of the film. The film is best presented 
when the class has had the above preliminary prepara- 
tion concerning Milk as Food. So important is this 
topic in the practical development of children, that the 
lesson should be given to the same group several times 
during the term. If the film is presented more than 
once, any false impressions may be corrected and the 
facts to be learned are clinched. 

Refebences 
books 

1. Broadhurst — Home and Community Hygiene, 
page 62. 

2. Farrington and Woll — Testing Milk and Its 
Products. 

3. Klein — Principles and Practice of Milk Hygiene. 

4. Rosenau — The Milk Question. 

5. Snyder — Dairy Chemistry. 

6. Wing — Milk and Products. 

PAMPHLETS 

1. The Department of Agriculture at Washington, 
D. G.j has pamphlets upon milk. 

2. The Agricultural Experiment Station in each 
state will send information upon milk. 

3. The Health Department of the large cities will 



110 MOTION PICTURES FOR INSTRUCTION 



send upon request definite directions for the care 
and use of milk. 

Film Lesson IV 

methodology * 

Specific Methodology Used in Teaching the 
English Language Through the Use of 
Moving Pictures. 

Quotation — ' ' Seeing is merely a factor of the learn- 
ing process. Learning is the effect of thinking, feel- 
ing, doing; so unless the visual impression is seized 
upon vigorously by discussion, questions and pupil ex- 
pression it has much less value than is commonly be- 
lieved. 

"The biggest task in the field of visual instruction is 
the actual elaboration of a specific methodology." — 
Joseph J. Weber, Ph.D. 

I. Equipment. 

In order to vitalize this experimental work with 
motion pictures, a wall map of the United States and 
a folding blackboard were installed in the projecting 
studio for the use of the students and the teacher in 
charge. A piano helped materially in the teaching of 
correlated patriotic and folk songs. 

II. The Work of the Teacher in Charge of Motion 
Picture Lessons in Americanization Classes. 

Each picture was studied before presenting it to the 

* A sample film taken from a report by Maude E. Aiton, principal of 
Americanization work in the public schools of Washington, D. C, and 
Helen C. Kiernan, teacher assigned to motion picture work. 



SIX SAMPLE FILM LESSONS 



111 



student group. Points to be emphasized and new vo- 
cabulary were noted. 

An outline was prepared for the teachers whose stu- 
dents attended the motion picture lessons. In this 
outline were given : 

a. The name and brief description of the picture. 

b. New words to be taught. 

c. References. 

Questions and problems for the discussions follow- 
ing the showing of the film were prepared. 
A report was made of each motion picture lesson. 

III. Allotment of Time. 

Seventeen lessons were given. Nine films were 
shown. It was planned to have the lessons given every 
Tuesday evening. The attendance on the first evening 
was too large, however, so the plan had to be changed. 
The use of the projecting studio was given for Tues- 
day morning at 11 o'clock and Tuesday evening at 8 
o'clock. These lessons were given to students of the 
intermediate and advanced adult classes. 

The morning lesson in the studio lasted one hour; 
the evening lesson an hour and a half. The first show- 
ing of the film took fifteen minutes; the discussion 
twenty minutes ; the second showing of the film fifteen 
minutes ; the teaching of a correlated song or poem, or 
prose selection ten minutes or longer. 

IV. Pictures Used. 

The motion pictures used in this course were selected 
from those produced and distributed by the United 



112 MOTION PICTURES FOR INSTRUCTION 



States Department of Agriculture and were as follows : 

Uncle Sam, World Champion Farmer 

Keeping Out Bad Food 

Sugar Cane and Cane Sugar 

Building Forest Roads 

National Bird Refugees 

Bees — How They Live and How They Work 

White Pine, Beautiful and Useful 

(These are one reel films shown in fifteen minutes) 

The Spirit of Lincoln — a two reel film distributed by 
The Lincoln Memorial University and 

Be Careful — A Crandall film specially made in 
Washington for "Safety First" week were also used. 

V. The Motion Picture Lesson. 

a. — Preparatory Work. 

The preparatory work for the picture lesson was 
taken up in the classroom the day before the presenta- 
tion of the film. This consisted of the development of 
the new vocabulary; ascertaining of location of places 
to be showTL in the next picture ; informal talks by the 
students ; reading of reference material. 

b. — The First Showing of the Picture. 

During the first showing of the picture the titles 
were read by the teacher in charge. The students 
were encouraged to converse with one another about 
the picture and to ask questions while the picture was 
being shown, thus insuring speaking and thinking in 
English. This is the most important point to be noted. 
The value of the language lesson is lost without it. 

c. — The Discussion. 

Participation and contributions by the students was 



SIX SAMPLE FILM LESSONS 113 



the aim of this part of the work. Questions were 
asked by the teacher and by the students. Problems 
were stated and discussed, students talked to the stu- 
dent group about their experiences in the particular 
industry shown in the picture. Such remarks as, 
" Speak slowly," and 6 ■ Speak louder/ 9 "I cannot un- 
derstand you," coming as they did from the students 
themselves, inspired the speaker with an effort to 
make himself understood. 

d. — The Second Showing of the Picture. 

During this showing of the picture the titles were 
read by individual students or sometimes by the stu- 
dents in unison. Conversation about the picture as it 
was being shown was carried on as before, special 
points brought out in discussion were noted. 

e. — The Teaching of Correlated Material. 

The words of the correlated song or poem were pro- 
jected on the screen and read by the students. Ques- 
tions were asked about parts not understood. After a 
drill on pronunciation of the new words, individual 
students were asked to read the selection. If a song 
were being taught, the melody was played and the song 
sung slowly at first. The second time the song was 
sung with the correct tempo. 

f. — Written Work — or articles for the "Americani- 
zation Bulletin" (the students' monthly publication). 

This written work usually took the form of a com- 
position. Sometimes a letter was written to a friend 
telling him about the picture. Sometimes the letter 
was written to the teacher telling her of the value of 
the picture lesson to the foreign group of students. 



114 MOTION PICTURES FOR INSTRUCTION 



Lessons 

The following detailed report of lessons given is 
made so that teachers may understand the necessity 
for careful preparation, the opportunity which should 
be given for much use of the language, the possibility 
for using correlated material and the contributions 
made by the students. 

These are reports of lessons actually given. 

Film: "Uncle Sam, World Champion Farmer" 

I. Outline for Teachers of Intermediate Classes 
Whose Students Attend Motion Picture Lessons 

The Department of Agriculture 1 reel film, ' ' Uncle 
Sam, World Champion Farmer," will be shown at 
10 a. m. and 8 p. m. Tuesday, July 10, 1923. 

The showing of the film will take fifteen or twenty 
minutes. A discussion will follow and the picture will 
be shown a second time. 

This picture shows the Agricultural Products of the 
United States and is of educational value. 

Vocabulary to be taught 



ingenuity truck farming machinery males 

acreage cabbage cantaloupes sheep 

wheat celery ladder swine 

tractor lettuce cotton apple crop 

potatoes horses strawberry 



References 

Frye — First Steps in Geography, pages 56-61 in- 
clusive. 



SIX SAMPLE FILM LESSONS 115 



Keller and Bishop — Industrial and Commercial 
Geography, pages 30, 31, 51. 

Department of Agriculture Bulletins may be found 
in moving picture file. 

Bulletins and Pamphlets — Bureau of Plant Industry 
(in motion picture file). 



Geography 

Lists to be posted in classroom and used for reference. 



Wheat States 


Com States 


Cotton States 


Montana 


Nebraska 


N. Carolina 


N. Dakota 


Kansas 


S. Carolina 


S. Dakota 


Iowa 


Georgia 


Nebraska 


Missouri 


Alabama 


Kansas 


Indiana 


Tennessee 


Oklahoma 


Ohio 


Arkansas 


Minnesota 




Mississippi 


Missouri 




Louisiana 


Illinois 




Oklahoma 


Indiana 




Texas 



Ohio 

Pennsylvania 

Washington 

Oregon 

II. Discussion Following Presentation of the 

Picture * 

wheat. 

What is the name of the picture you have seen? 
What does it show? 

* Participation by the students was the aim of this part of the work. 
Questions by the students were encouraged. Talks by students con- 
tributed to the value of the discussion. 



116 MOTION PICTURES FOR INSTRUCTION 

Why is the IT. S. the leading agricultural country in 
the world? 

1. Soil. 

2. Climate. 

3. Energy of the people. 

4. Help of the Government for scientific agricul- 
ture. 

5. Transportation system. 

How many have seen wheat growing in other coun- 
tries? 

Where is the wheat belt in the United States ? 

Locate 14 states that are in the wheat belt. 

What three large rivers are in this section? 

Have all wheat countries machinery like that which 
you have seen in the picture to-night ? 

The machine drawn by 32 or more horses is called a 
combined harvester or "combine" and performs 5 dif- 
ferent kinds of work. 

1. Cuts the wheat. 

2. Gathers it. 

3. Threshes it. 

4. Cleans it. 

5. Sacks it. 

Before the harvester goes by there is a field of grain 
and after there is a row of sacks of wheat. Everything 
is done by horse or steam power except sewing up the 
sacks. 

Who knows what work is done by the machine which 
has the long chimney ? 

COBK. 

What is the most valuable crop in the U. S.I 



SIX SAMPLE FILM LESSONS 



117 



Will some one locate the states which are included 
in the Corn Belt? 

Why does corn play an important part in the history 
of the country? 

How much of the corn is fed to people? How much 
is exported to other countries? 

How much of the corn do the people of America 
use? 

How does the housekeeper cook corn for dinner f 

COTTOX. 

What kind of climate is necessary for production of 
cotton? 

There are ten states in the Cotton Belt. Please lo- 
cate them. 

What difference did you notice between the method 
of gathering wheat and the method of gathering 
cotton? 

Several machines have been invented for the picking 
of cotton. 

There are two objections against the use of these. 

1. They have injured the cotton. 

2. Not all the cotton balls ripen at the same time. 

POTATOES. 

The potato was discovered by the Spaniards when 
Pizarro conquered Peru. It was taken by them to 
Europe. 

The Potato States are Maine, New York, Pennsyl- 
vania, Ohio, Michigan, Wisconsin, Iowa and Minnesota. 
Locate them on the map. 



118 MOTION PICTURES FOR INSTRUCTION 



FRUIT. 

What fruits grow in the North? 
"What fruits grow in the South? 
What is the principal fruit state ! 
Good transportation facilities have helped to make 
California a great fruit state. 

CATTLE. 

The cattle industry has moved steadily west an 
now in the region beyond the Mississippi River. 
The cattle raising states 1 1920 Census | are— 

HOGS. 

The pig goes with the corn belt so the corn belt is 
also the swine belt. 

SHEEP. 

Locate the four sheep raising states. 

III. Report ox Motion Picture Lessox 

(Note: These reports are of special value in show- 
ing how picture was used.) 

The motion picture shown was Uncle Sam. World 
Champion Farmer, produced and distributed by 
Department of Agriculture, Bureau of Plant Industry. 

This picture shows how the United States leads the 
world in food productions. 

The picture was shown at 10 a. m. for the morning 
classes. Attendance for this lesson was 40. 

During the first showing the titles were read by the 
teacher in charge. The map was used for the location 
of states in the Wheat, Corn, and Cotton Belts, of the 



SIX SAMPLE FILM LESSONS 



119 



Potato raising states, Cattle and Sheep raising states. 

The modern machinery methods of harvesting wheat 
were noted by the students and compared with methods 
used in other countries. 

Interest was shown in the picture of the potato dig- 
ging machine. 

The cotton pickers' method was contrasted with that 
of the harvesters. Many students said that they had 
never known how the cotton is picked. 

The blackboard was used to note the uses of wheat, 
the distribution of corn, names of other wheat and corn 
countries and the historical development of wheat, 
corn, potatoes and cattle in this country. 

The discussion lasted 30 minutes. 

During the second showing of the picture the titles 
were read by the f ollowing students : Napoleon Alcan- 
tara, Aime Verbeeck, Louis Zanoff, Mrs. Pauline Kobt- 
zeff, Ida Rubin. 

(Note: The sentences in the titles were read dis- 
tinctly. The students, however, had difficulty in read- 
ing figures such as "50,000,000; 73,000,000; also in 
pronouncing "produce, product, produces, producing, 
production and rival.") 

The picture was shown at 8 p. m. for the evening 
classes. Attendance for this lesson was 75. 

After the showing of the film the students joined in 
the discussion, answered questions, pointed to places 
talked about on the map, and talked about products in 
other countries. 

Discussion lasted 30 minutes. 

During the second showing of the picture the titles 
were read by Mr. Bamiro Fernandez. 



120 MOTION PICTURES FOR INSTRUCTION 



IV. Correlated Material 

The words of the song "America the Beautiful" 
were projected on the screen and read by the students. 
The phrases "Amber waves of grain" and "fruited 
plain" were readily understood by the foreign students 
after having seen the picture. 

0, beautiful for spacious skies, 
For amber waves of grain, 
For purple mountains' majesties 
Above the fruited plain. 

America, America, God shed his grace on thee 
And crown thy good with brotherhood 
From sea to shining sea. 

An old negro cotton picker shown in this picture at 
work in the cotton field suggested the song ' 6 Old Black 
Joe." The words of this song were projected on the 
screen and read by the students. 

"OLD BLACK JOE" 
Gone are the days when my heart was young and gay, 
Gone are my friends from the cotton fields away, 
Gone from this earth to a better land I know, 
I hear their gentle voices calling, "Old Black Joe." 

CHORUS 

I 'm coming, I ? m coming, for my head is bending low, 
I hear their gentle voices calling, "Old Black Joe." 

V. Written Work 

The following is an article written for the school 
newspaper by a student in the Americanization Motion 
Picture Class : 



SIX SAMPLE FILM LESSONS 



121 



UNCLE SAM, WORLD CHAMPION FARMER 

The picture which I saw July 6th was about the 
agriculture industry in the United States. The first 
picture showed how the wheat grows and how it is cut 
with the 4 * harvester machine," which cleans the wheat, 
makes bundles and puts it in the sacks all at the same 
time. The machine is drawn by 32 horses. After the 
wheat is cut and put into sacks, the seeds are separated 
from the straw in a special machine which is called a 
"separator." The men put the wheat into the ma- 
chine with a shover. The straw or chaff blows out of 
the pipe. 

The United States is the first in wheat production. 
Some of the wheat is consumed in the United States, 
some is used for seed and some is exported. The re- 
mainder is held for other years. 

The second picture was about corn — how it grows 
and how it is put into stacks. Corn is an American 
product. The first colonists were taught by the In- 
dians to produce it. Ninety per cent of corn is used 
for feeding animals. Only 9 per cent is used for 
people. 

The next picture was about fruit and vegetable pro- 
duction. Apples, lemons, cabbages, potatoes and let- 
tuce were shown. The picture showed how the po- 
tatoes are dug by a machine. The machine digs up 
the potatoes and a man puts them in a basket. 

The first people who introduced cattle into the 
United States were the Spanish people. They brought 
the cattle into Florida and in 1820 the colonists went 
into Texas and worked at cattle raising. Now the cat- 



122 MOTION PICTURES FOR INSTRUCTION 



tie raising is in the West. Many sheep, horses, and 
mules are raised in the United States. 

Katie Feldstone. 
(JEEas # been in America 8 months) — (Russian). 

Film Lesson V * 

AN INTRODUCTORY WORD 

The film lesson is a remarkably effective teaching- 
tool. In the hands of superior teachers it is destined 
to become the " seven league boots" of the schoolroom. 
Great educational strides may be taken. The film les- 
son puts into the teacher's hand all the teaching power 
in action, superior personalities, wholesome environ- 
ments, narration, dramatic and educational interest, 
thus speeding up intelligence and multiplying the ef- 
fectiveness of the teacher a hundred fold. 

Keen edged as it is, this teaching tool must be han- 
dled carefully and the method of its use must be peda- 
gogically scientific. Anything that educates a child 
must start from within and must result in thinking 
and acting. Thus the film lesson becomes educational 
only as it results in conduct. The film lesson, in other 
words, must set the child at work and not do the work 
for him. Let us illustrate : The film lesson pictures 
a girl making a garden in her back yard. The sev- 
eral processes in garden making are clearly defined. 
The boy who sees the action-pictures may get the im- 
pulse to make a garden ; furthermore, direction may be 

* This is Lesson 1 of a manual to accompany "Citizens in the Making." 
a film text composed of Thirty Lessons, by F. S. Wythe, Neighborhood 
Motion Picture Service, Inc., 131 W. 42nd St., New York City. 



SIX SAMPLE FILM LESSONS 123 



given to the impulse but the film lesson becomes edu- 
cative only when the boy puts his impulse into action 
and reacts to the "feel" of making his garden, a per- 
fect recitation on how to make a garden, to the con- 
trary notwithstanding. 

We desire to emphasize that the film lesson is a class- 
room accessory only educative in nature as it is scien- 
tifically used and to caution the teacher against resting 
the case on information alone as projected on the 
screen. 

May we urge careful study and trial of the methods 
suggested in "Film Lesson Plans," inviting at the 
same time your cooperation in perfecting classroom 
procedure as it relates to film lessons? 

TWENTIETH CENTURY PILGRIMS 

(Immigration) 
The Lesson Plan- 
Civic Content: 

Why foreigners come to America: 

a. Drudgery and meager economic returns in Eu- 

rope. 

b. Seeking freedom in speech and religion. 

c. Exaggerated reports of wealth easily acquired. 

d. Every man has, or may have, a word in govern- 

ment in America. 
How foreigners judge America : 
a. By first impressions of Americans. (The kindly 
act*) 



124 MOTION PICTURES FOR INSTRUCTION 



b. By interested and just treatment. 

General Topic Aim: To focus the attention of the 
children on the immigration problem; to develop rea- 
sons for immigration; to suggest a first step in the 
process of Americanization. 

Specific Lesson Aim: To teach boys and girls to re- 
spect foreigners, and to treat them justly. 

Motivation: (1) A classical painting; (2) attractive 
personalities; (3) action-pictures; (4) narration; 
(5) novelty in a supposition. 

Lesson Psychology: An appeal to the social instinct 
of children — sympathy for those in distress. 

Teacheb's Preparation : (1) Familiarity with the les- 
son story and the underlying civics portrayed; (2) a 
review of the synchronized paragraphs; (3) careful 
reading of leaflets accompanying this lesson; (4) 
preliminary showing of film. 

Note : Since the words in italics represent lesson mo- 
tives which are a part of every lesson, they will be 
omitted, although read between the lines, in the fol- 
lowing lesson plans. 

Lesson Stoey 
Part I 

Father Bernard, working in the field of his little 
farm in Western Europe, straightens his aching back 
to note with concern his children, Louise and Emile, 



SIX SAMPLE FILM LESSONS 



125 



tired with the long hours, laboring near at hand. Dis- 
couraged with the outlook for his children and troubled 
about his wife's health, his eyes turn toward her. 
Even as he looks, worn out with the additional burden 
of long hours in the field, Mrs. Bernard falls exhausted. 

Alarmed, the husband and children assist the wife 
and mother to the little house, where the father pours 
out his discontent and worry to Grandmother Bernard. 
Comforting him, she remembers the letter which has 
just arrived from America for her son. He opens it 
and reads aloud the invitation to come to America. 
As he reads, the home which he longs for in Ajnerica 
visions in. Brother Frank in America has written be- 
fore urging Pierre to bring his family to the land of 
opportunity. Notv there is no desire to remain and 
furthermore no excuse for the letter contains a draft 
which will more than meet the expenses of making the 
trip. 

In great anticipation the Bernard family make their 
arrangements for departure and with few regrets take 
ship for America. 

All the pictures of America recorded in the minds of 
Emile and Louise are revivified. On board the 
steamer they discuss what they expect to find in the 
new land. They imagine themselves at booths where 
candy may be had for the taking ; at the parks where 
ponies are free. Each mounts a pony and they ride 
through wondrous castles. In a mountainous district 
they discover a sign, ' 1 Free gold. Take all you want. ' J 
They help themselves from bags of gold at the en- 
trance of the mine. While filling their pockets in great 
excitement, a feathered Indian head is silhouetted from 



126 MOTION PICTURES FOR INSTRUCTION 

the tip of an adjoining rock. The Indian rises, draws 
his bow, and imbeds an arrow in Emile 's back. 
Frightened, Louise pulls out the arrow. Together 
they flee, pursued by the Indian. 

Living their own imaginative stories Emile and 
Louise look about them in alarm, rise and hurry to 
their parents. Father Bernard allays the fears of 
Louise and Emile. 

Part II 

After an uneventful trip the Bernards enter the har- 
bor of New York. The Statue of Liberty and the 
great buildings astound them. The ship ties up at the 
wharf and empties its load of human freight. Con- 
fused by the turmoil, the Bernards follow timidly the 
guide who presents herself. She leads the way to a 
secluded spot and says, ' 6 Wait here until I return." 
The Bernards, fearing later that they have been for- 
gotten, determine to try to find the railroad station. 
Soon the traffic confuses them. Their timid requests 
for assistance are brushed aside in the rush of busi- 
ness. Two boys, noticing the helplessness of the for- 
eigners, unfeelingly fasten the rope which trails from 
a hamper carried by Father Bernard to a lamp post. 
As the family continue their wandering the rope 
tightens, the hamper is jerked to the sidewalk. 

It bursts open, displaying the wreckage of a prized 
heirloom and Louise's doll. This is the climax. 
Mother Bernard gives way to her distress. At this 
moment a little girl who has seen the episode from her 



SIX SAMPLE FILM LESSONS 



127 



secure seat in an automobile comes to the assistance of 
the Bernards. She tries to comfort Mother Bernard 
and volunteers her help. The little girl's father ar- 
rives. He learns of the incident and the difficulties of 
the Bernards. Inviting the family into his automobile, 
he drives them to the railroad station and sees that the 
Bernards proceed safely on their journey. 

The Lesson 

This and lesson plans which follow from time to time 
presuppose a mechanical arrangement such as outlined 
in the pages on "Film Education, " namely, the use of 
the film lessons in the classroom or a place where the 
intimacy of teacher and pupils will not be lost. The 
motion picture projector and film lessons are a class- 
room tool to be used much as are globes and maps. 

1. Method of approach: Connect the child's experi- 
ence with Americanization. Discuss the problems 
dealing with the foreigners in the immediate vicinity 
— the Chinese, the Japanese, the Greeks, the Hindus, 
the Swedes, the Italians, etc. What privileges do we 
enjoy in America not found in foreign countries? 
Where were your parents born? Where were you 
born? 

2. Project the film lesson. Avoid distracting dis- 
cussion while the lesson is in action on the screen. A 
word or two at opportune moments are not objection- 
able. Let the children give their full and undivided at- 
tention to the film. They will enjoy it as they do the 
story read in its entirety in the literature lesson. 



130 MOTION PICTURES FOE INSTRUCTION 



4. How do foreigners first judge America? 
Special Problem Questions. 

1. Did you like the picture lesson? Give a reason 
for your answer. 

2. Discuss the personality of each individual in the 
picture. 

3. Why is America the land of opportunity for boys 
and girls? 

4. Where had you rather attend school — Germany or 
America? Why? 

5. What is the average daily wage in China, Sweden, 
France, England, America? 

6. In what part of Europe are the scenes laid? Give 
reasons for your answer. 

7. How did Uncle Frank in America send money to 
his brother in Europe? 

8. How long do you think it took the ship to cross 
the ocean t 

9. Who was the busy woman who told the Bernard 
family to wait until she came back, on their landing 
in America ? 

Project work. 

1. Formulate an Americanization program for your 
school. For yourself. 

2. Who was Millet? Prepare a brief sketch of his 
life. Make a list of his best pictures. 

3. Give details of immigration — passports, trans- 
portation, custom house, etc. 

4. What is the governmental immigration program? 



SIX SAMPLE FILM LESSONS 131 



5. Discuss reasons for immigration of the Pilgrims, 
our forefathers. 

6. What do the people of the several European coun- 
tries have to say about government — England, France, 
Eussia, Germany, Italy, etc. f 

7. Bring in a report on the comparative wages paid 
laborers in Europe and America. 

8. If possible visit an immigration station as a 
lesson. 

Suggestions 

Radiating from each film lesson are avenues along 
which the class may travel with profit. Speaking in 
concrete terms, let us examine the Problem Questions 
and Project Work which are suggested by action- 
pictures in the film lesson. 

Who was Millet? 

In what part of Europe are the scenes laid? Give 
reasons for your answer. 

Why did Father Bernard want to go to America? 

Why was his brother in America anxious that he 
should come? 

The action-pictures conveying the answers to these 
questions are "open sesame" to the field of art, geog- 
raphy of Europe, and its social and economic life. 

How did Uncle Frank, in America, send money to 
his brother in Europe ? 

How long do you think it took the ship to cross to 
America? 

Where did Emile and Louise obtain their peculiar 
ideas about America ? 



132 MOTION PICTURES FOR INSTRUCTION 



Who was the busy woman who told the Bernard 
family to wait until she came back, on their landing in 
America? 

Why were the Bernards confused in making their 
way? 

What is your opinion regarding the ' ' joke " played 
by the boys on Father Bernard? 

How do foreigners judge America? 

These questions, respectively, open studies involv- 
ing world exchange, high seas transportation, avenues 
of communication between nations, an Americaniza- 
tion program for foreigners, and native-born as well. 

Thus the thread of the Bernard family and their ex- 
periences may be woven into the whole day's work. 
The presence of Emile, Louise, and the parents, in the 
classroom may be used to advantage by the skillful 
teacher to motivate the day's program. 

Suggested Plan for the Week 's Work 

The prime purpose of the film lesson as an integral 
part of the civic period is to motivate the civic content 
for the day and the rest of the week. The interest 
generated by the film should be sustained. 

First Day. The lesson as outlined above. 

Second Day. Recitation on civic content correlated 
with the film lesson as found in the class text. Indi- 
vidual assignment of Problem Questions and Project 
Work. 

Third Day. Discussion of the preceding day's 
assignments. 

Fourth Day. Library day. Readings and reports 



SIX SAMPLE FILM LESSONS 



133 



on assignments made from list under Pupils' Reading. 

Fifth Day. Reports on assignments from Project 
Work as yet uncompleted. Review or field excursions, 
observing principle under discussion at work in the 
large. 

Pupils' Reading 

"Landing of the Pilgrims 99 Felicia Eemans 

Life of Millet 

With copies of best known pictures — "The Ange- 
lus," "The Gleaners/ ' "Man with Hoe;" etc. 
America— "My Country, 'Tis of Thee — 99 

1 1 Max with the Hoe" Edward Mar~kham 

"The Song of the Lark" (Picture) .... Jules Breton 

"The Pilgrims, 1620-1630," SaraR. O'Brien 

From "English for Foreigners," Book II., Hough- 
ton Mifflin Co. 

" Little Athens Message" Anna Doan Stephens 

The Peace Association of Friends in America. 

"Camp School Song" C. R. Trowbridge 

Printed for The Society for Italian Immigrants, 
129 Broad St., New York City. 
Story of Edward W. Bok, a poor Hollander. 
Formerly Editor of "The Ladies Home Journal." 



"Courtship of Miles Standish" Longfellow 

(Also picture, by Taylor.) 
"The Pilgrim Fathers"; "Plymouth Rock" O'Reilly 
1 1 The Pilgrim Fathers" Wordsworth 



Government and the Citizen . . . Roscoe Lewis Ashley 
California Edition (1908), Macmillan Co. 
P. 194, Sec. 206. 



134 MOTION PICTURES FOR INSTRUCTION 



The New Civics Roscoe Lewis Ashley 

(1908), Macmillan Co. 

P. 42, Sees. 39-49. 
American Government Roscoe Lewis Ashley 

New and Revised Edition (1917), Macmillan Co. 

P. 287, Sec. 290. 
Civics — Studies in American Citizenship 

....t......... Waldo H. Sherman 

(1905), Macmillan Co. 

Part IL, p. 212. 
Civil Government in California John Richard Sutton 

American Book Co. 

Chap. 13, p. 256. 
Our America — The Elements of Civics John A. Lapp 

Bobbs-Merrill Co. 

Chap. 5. pp: 49-53; 

Chap. 25, pp. 300-330. 
My Country — A Text Book on Cmcs and Patriotism 

for Young Americans Grace A. Turkington 

Ginn & Co. 

Chaps. 1, 2, 3. 
Government in State and Nation 

J. A. James and A. H. Sanford 

Revised Edition, Charles Scribner's Sons. 
Lessons for Junior Citizens Mabel Hill 

Ginn & Co. 

Pp. 168-185. 
Civics — The Community and the Citizen 

■ Arthur William Dunn 

State Printing Office, Sacramento, Cal. 

Chap. 7, pp. 34r-37. 



SIX SAMPLE FILM LESSONS 



135 



American Citizenship Charles A. Beard and Mary 

Bitter Beard 

(1914), Macmillan Co. 

Pp. 196, 197, 202. 
City, State, and Nation William L. Nido 

(1917), Macmillan Co. 
Community Civics .... Jessie Field and Scott N earing 

(1916), Macmillan Co. 
The Gulick Hygiene Series . . . Frances Gulick Jewett 

Book III, Town and City. 

Ginn & Co. 

Civil Government Simplified J.J. Duval 

(1919), Harr Wagner Publishing Co., San Francisco. 

Special Aids 

Have the children write for printed matter to 
national and state agencies concerned in the problems 
of the immigrant. 

Junior Red Cross, National Headquarters, Washing- 
ton, D. C. Publications relating to international 
correspondents and junior adoptions. 

Society for the Fatherless Children of France. 

Travelers' Aid, 25 West 43rd Street, New York City. 

United States Bureau of Education, Washington, 
D. C. Especially reports and teachers' leaflets of 
A. W. Dunn, specialist in civic education, and the 
annual reports of the Commissioner of Education. 

Commissioner General of Immigration, Annual Be- 
ports, Washington, D. C. 

Bureau of Immigration and Naturalization, Immigra- 



136 MOTION PICTURES FOR INSTRUCTION 



tion Laws and Regulations, Chinese Exclusion Act, 

Washington, D. C. 
Department of Commerce and Labor, Special Consular 

Reports, Vol. XXX, Emigration to the U. S. (1904). 
National Civic Federation, New York, Reports of 

Conferences of Immigration Department, Sept. 14 

and Dec. 12, 1906. 
American National Security League, 19 West 44th 

St., New York City. Pamphlets on Americaniza- 
tion. 

Film Lesson VI 

6teps toward american ideals 
The Lesson Plan 

Civic Content : 

The first processes in Americanization : 
Kindly and just treatment. 

a. First impressions lasting. 
Placement in work for which the foreigner is best 

fitted. 

a. State program to place deserving and trained for- 
eigners on the land. 
The alien should become the owner of a home. 

a. State program to anchor foreigner to America. 

b. Participation in civic life. The foreigner get- 

out of Amercia about what he puts in. 

First step in formal Americanization 6 ' first papers." 

General Topic Aim: To impress upon the minds of 
the children that much which they enjoy was con- 
tributed by foreigners; that America owes a part of 



SIX SAMPLE FILM LESSONS 



137 



her advancement in science, art, government to for- 
eign contribution; withal to establish a well balanced 
attitude toward foreigners. 

Specific Lesson Aim: Kindly and just treatment of 
foreigners by the boys and girls. 

Motivation: Appealing situations and pictures of 
western events. The lesson is built largely on at- 
tractive personalities. 

Lesson Psychology: An appeal to the social and 
dramatic instinct ; sympathy and assistance to one in 
distress. 

Teacher's Preparation: (1) acquaintance with the 
lesson story and the underlying civics portrayed; 
(2) a survey of subject matter synchronized with the 
film lesson. 

The Lesson Story 

It is the morning following the arrival of the 
Bernards at the western home of Pierre's brother. 
Mother Bernard and his sister-in-law are in the front 
yard. Louise and Emile, dressed in their cousins' 
clothes, looking every bit like young Americans, come 
from the house led by their companions, Clifford and 
May. In great delight Mother Bernard notes the 
transformation which has taken place. As the chil- 
dren leave Pierre and Frank come from the house. 
Dressed in his brother's clothes Pierre looks the part 
of a well-to-do American rancher. Frank proudly 
leads his relatives about the farm. The attractive 
buildings, fields, and well-fed stock show evidence of 
thrift. Congratulations from his brother lead Frank 
to relate his experiences in America. 



138 MOTION PICTURES FOE INSTRUCTION 



"Soon after reaching America I found work as a 
member of a railroad traction crew. Dissatisfied with 
the outlook, I grasped an opportunity to better myself 
by purchasing an illy-kept farm. I knew I could make 
the farm pay. Setting Giant powder at work I re- 
deemed the land, and with new tools which I purchased 
with money loaned by the bank, made the virgin soil 
produce abundantly. Then Martha came. That was 
the turning point in my life. The touch of a woman's 
hand soon became evident. Martha and I worked and 
dreamed together.. As the babies grew, Clifford and 
May did their share. Working together we have 
made our home. You see, brother, the foreigner gets 
out of America about what he puts in. 

"After contending with bad roads season after sea- 
son and exasperated finally by an afternoon in the 
mud digging out my truck, I formed a 'Good Roads 
Club. ' We worked hard to carry the bond election for 
better roads but were beaten at the polls because many 
of us could not vote. This taught me a lesson. I de- 
termined to become a citizen of America in all respects. 
A few years later after a vigorous campaign bonds 
were voted and you can see the result/' 

At the completion of the interesting narrative 
Martha suggests a ride in the automobile. As the 
machine gathers momentum the children run up and 
clamber on the running boards. 

A few days later an agent of the State Placement 
Bureau calls to help the Bernards locate a home. 
Under his guidance an attractive ten-acre farm 
close to a thriving city is purchased on attractive 
terms. 



SIX SAMPLE FILM LESSONS 



139 



The Lesson 

1. Method of approach: Make the children feel a 
need for the content of this lesson. Bring the subject 
near to them. What foreigners are living near your 
home? Has your city or state a problem dealing with 
foreigners, such as have cities in California and the 
state itself with the Chinese and the Japanese? What 
effort is being made to solve such problems? What 
have foreign nations contributed directly and indi- 
rectly to your school and community, your state? 
Questions of this nature will connect the personal ex- 
periences of the children to the subject content pic- 
tured. 

2. Show the film lesson. Avoid establishing the 
habit of a divided interest. Do not discuss the picture 
while it is running on the screen. 

3. Have the story reproduced for its narrative prop- 
erties. Inaccurate observations on the part of the 
children will result in differences of opinion. These 
may be settled best by a second showing of the lesson. 

4. Question the children to bring out the civic con- 
tent of the lesson. 

5. Make use of some method whereby the impulses 
which are created during the lesson shall take effect in 
the conduct of the children. See Lesson I. 

6. Assign work for the rest of the week. 

Lesson Questions 

1. What is the first interest of the Bernards? What 
impression have you formed as to the home life of 
Frank and his family ? Why ? 



140 MOTION PICTURES FOR INSTRUCTION 



2. How would you rate Uncle Frank's farm? Who 
were instrumental in its development? 

3. Why does Frank determine to change his occupa- 
tion? What is the wage of, and the future for men 
employed on a section "gang"? 

4. What is the award of shiftlessness? 

5. Contrast the homes of the shiftless farmer and 
the one established later by Frank. How do you ac- 
count for the difference? One man is a native-born 
citizen, the other a foreigner; which one at heart was 
the better American? Why? 

6. Why was Frank confident he could make the farm 
pay? 

7. Where did Frank get money to purchase tools? 

8. Why was Frank interested in a "Good Eoads 
Club"? ' 

9. What upset the wise plans of Frank and his neigh- 
bor farmers? 

10. Explain how the Bernards found their new 
home. 

Problem Questions. 

1. What is the purpose of one's life? The accumula- 
tion of wealth? 

2. What determines one's success. One man failed, 
another succeeded on the same farm. How do you ac- 
count for this part of the story? 

3. How does the story show the value of practicing 
thrift? 

4. What is the value of good roads? Are the roads 
in your vicinity good ones ? If not, who is responsible? 
Discuss the steps in laying a state highway. 



SIX SAMPLE FILM LESSONS 



141 



5. Why should the nation concern itself with a pro- 
gram which should include the placement of foreigners 
as to work and homes? 

6. Why should encouragement be given to foreign- 
ers to purchase small farming acreages? 

7. What advantages are gained by living and work- 
ing on a farm? 

8. What is meant by 4 4 The foreigner gets out of 
America about what he puts in"? What did Uncle 
Frank put in ? What did he get out ? 

9. Suggest a method by which the state might assist 
deserving foreigners to own a home. 

10. What do you consider the first informal and 
formal steps in the Americanization of foreigners? 

11. What can the teacher and the children do to as- 
sist? 

12. Why is the house on the farm so often neglected 
while the barns are improved ? 

13. Does the development of the automobile industry 
bear any relation to improved highways? Give rea- 
sons for your answer. 

14. What is the first duty and privilege of the citizen 
in Ajnerica? 

15. What is a silo and how is it used? 

Project Work. 

1. Formulate a national program for Americaniza- 
tion of foreigners. Of native-born residents. 

2. Show the relationship of education and ignorance 
to the Americanization problem, 

3. Show that America has helped oppressed nations. 

4. Make a list of our great 44 Americans. " 



142 MOTION PICTURES FOR INSTRUCTION 



5. What is an American ? How may one become an 
American? Make out a program step by step. 

6. Describe the processes in "Naturalization." 
What is "Naturalization" for, and who may enjoy 
its privileges. 

7. Make a list of "naturalized" Americans who have 
served America. 

8. Discuss the use of dynamite on the farm. 

9. Discuss the purpose of banks, moral and financial 
credit, how each may be obtained. 

10. Explain what superior tools have done for farm- 
ing. 

11. Compare life in the city and in the country. 

Suggestions for the Week 

First Day. Film lesson and assignments. 

Second Day. Field visit to immigrant stations when 

possible. 

Third Day. Library and study. 

Fourth Day. Report on problem questions. 

Fifth Day. Discussion of assignments. 

Pupils' Beading 

An American Book of Golden Deeds James Baldwin 

American Book Co. 
Hero Tales from American History 

Henry Cabot Lodge and Theodore Roosevelt 

Century Co. 
Stories of Daniel Boone, Early Settlers, 

George Washington, William Penn, Etc. 



SIX SAMPLE FILM LESSONS 



143 



"Pioneers! Pioneers!" Walt Whitman 

"Human Brotherhood" Whittier 

"The Building of the Ship" Longfellow 

"The Fatherland" James Russell Lowell 

"The Ballad of East and West" . , . Kipling 

"Rip Van Winkle" , Irving 

"The Pathfinder" Cooper 

"Little Athens Message." 
"The Pathfinders, Lewis and Clark" from 
"The Children's Hour," 

Vol. VIII Eva March Tappan 

Houghton, Mifflin Co. 
Story of LaFayette, of Pasteur's Work, of Italian 
Music and Art, Architecture and Engineering; 
Spanish Missions in California; Our Laws 
Founded on the Old Roman and English Laws, 
etc. — Showing what we owe to foreigners. 



Text References 

Government and the Citizen . . Roscoe Leivis Ashley 
California Edition (1908), Macmillan Co. 
P. 1 to Sec. 4, P. 4; 
P. 9, Sec. 10 to P. 13 ; 
Chap. 6 ; 

P. 215, Sees. 226-230, 237. 

The New Civics Roscoe Leivis Ashley 

(1918), Macmillan Co. 

Chap. 1, Sees. 1, 2, 3, 7-8, 12, 16-20; 

Chap. 2, Sees. 22-25, 28-32 ; 

P. 159, Sees. 144-146 ; 

P. 184, Sec. 170; 



144 MOTION PICTURES FOR INSTRUCTION 



P. 269; Sees. 242, P. 275; 

P. 346, Sees. 305, 306; 

P. 357, Sees. 314, 318. 
American Government ........ Roscoe Lewis Ashley 

New and Revised Edition (1917), Macmillan Co. 

P. 8, Sees. 9, 10; 

Chap. 10, Sees. 123-126; 

P. 211, Sees. 222-224; 

P. 267, Sees. 275-279; 

P. 281, Sec. 284; 

P. 287, Sees. 290, 291. 
Civics, Studies in American Citizenship 

i Waldo H. Sherman 

(1905), Macmillan Co. 

Part L, Pp. 16, 17; 

Part II., Pp. 208-217. 
Civil Government in California 

John Richard Sutton 

American Book Co. 

P. 159, Sec. 108. 
Our America — The Elements of Civics 

John A. Lapp 

Bobbs-Merrill Co. 

Chap. 1, especially Pp. 7, 8 ; 

Chap. 5, especially Pp. 49-51 ; 

Chap. 8, especially Pp. 91-94; 

Chap. 25, Pp. 300-301; 

Appendix, "Secretary of Interior," Pp. 335, 336. 
My Country — A Text Book in Civics and Patriotism 

for Young Americans Grace A. Ttirkington 

Ginn & Co. 
Chaps. 4, 5, 7. 



SIX SAMPLE FILM LESSONS 



145 



GOVERNMENT IN STATE AND NATION 

J. A. James and A. H. Sanford 

Revised Edition, Charles Scribner's Sons. 
Chap. 9; 20, See. 1; 
Chap. 28. 

Special Aids 

Through the children correspond with organizations 

concerned with the immigrant problem. 

Bureau of Labor, Seventh Special Report, The Slums 
of Baltimore, Chicago, New York and Philadelphia 
(1894). Ninth Special Report, The Italians in Chi- 
cago (1897). 

Hull House Maps and Papers, New York (1895). 

Naturalization, Report to the President of the Com- 
mission on Naturalization, November 8, 1905, 59th 
Congress, 1st Sess. H. R. Doc. 46. 

Bureau of Naturalization, Washington, D. C. Nat- 
uralization laws and instructions for applicants for 
citizenship. 

State Commission for Immigration and Housing. 
American National Security League, 19 West 
Forty-fourth Street, New York City. Pamphlets on 
Americanization. 



CHAPTER VI 



A TENTATIVE PLAN FOR A MOTION PICTURE LESSON 

Let us consider in one place the various factors 
mentioned heretofore in other connections that must 
constitute the frame work of a methodology dealing 
with the film as a teaching instrument. 

The six representative film lessons of Chapter V 
present type lessons by five different educators. In 
one case, two of the lessons are presented from the 
same author. (Immigration, and Steps toward Amer- 
ican Ideals — Wythe.) In an inductive study, a com- 
parison of these will reveal certain procedures com- 
mon to all of them, and certain others that differ. 
These may give us a start toward a partial generaliza- 
tion of practices obtaining among representative edu- 
cators. 

i. Film Synopses Necessary 

It will be noted at once that all of these lessons first 
isolate the film titles (sub-titles), these titles in correct 
sequence being called a synopsis. Most educational 
films now are accompanied with a synopsis. 

It is evident that the teacher needs to know these to 
determine what is lacking in information or directions 
supplementary to the picture, and also whether they 

146 



TENTATIVE PLAN FOR A FILM LESSON 147 



are suited, in meaning and form, to the purpose of the 
lesson, and the spirit of the school. 

Sometimes titles are too many or too long and in- 
volved. In this case the teacher — or preferably the 
visual education committee or department, where the 
operation of cutting and patching the film is under- 
stood — should cut out the undesired portions, taking 
care to see that they are restored later. The film con- 
tinuity would be more valuable than the synopsis, since 
the continuity contains not only the titles but descrip- 
tions of the scenes and action of the picture as they 
occur in sequence with the titles. Where the teacher 
previews the film, the continuity is not essential. 

The later issues of the Ford leaflets give "explana- 
tions" of the scene following each title. But most of 
them do not describe the action so much as they insert 
the supplementary facts. This puts the additional 
information directly where it is needed in the film, 
with a possible danger of the teacher making too me- 
chanical use of it. The Analytic arrangement in the 
earlier Ford leaflets presents a more accurate view of 
the topic as a whole, and the sub-topics are seen in 
better perspective. 

2. Statement of Supplementary Facts 

All of the six lessons print for the teacher additional 
facts about the topic, from which the teacher may 
select those she thinks most desirable for discussing. 
The earlier Ford issues present these in analytical 
form, adding greatly to the clarity of the topic. With 
regard to any new type of illustrative material or a 



148 MOTION PICTURES FOR INSTRUCTION 

new plan of recitation, teachers are sometimes afraid 
that the new work will mean more work for them. 
This need not be the case. While the teacher with the 
time and inclination will always pursue independent 
research, the busy teacher, in the case of these films, 
will find the most necessary supplementary facts 
furnished her on the leaflets, and will not need to 
search through encyclopedias and other books and 
pamphlets. 

3. References or Bibliography 

All of the lesson leaflets supply the teacher with a 
list of books, pamphlets, etc., containing a still wider 
range of facts regarding the topic. 

Consulting some of these under the teacher's guid- 
ance will constitute a form of research for the pupils. 
DeVry gives other illustrative material, bearing on the 
same topic, in the form of films, slides and press pic- 
tures. 

4- Suggestive Questions 

The Ford leaflet on milk does not contain questions, 
but since many other of the Ford leaflets do include 
the questions, it seems proper to list questions as a 
fourth characteristic of all of the leaflets. In the 
later issues of the leaflets accompanying the Ford Edu- 
cational Library releases, the authors go ^ step further 
than the others (except DeVry) and suggest which 
questions come before the film showing, and which 



TENTATIVE PLAN FOR A FILM LESSON 149 



after. DeVry distributes the questions under Oral 
Introduction, Film Presentation and Follow-up Work. 

5. Oral Introductions 

Four of these authorities use some sort of intro- 
ductory statements at the beginning of the lesson. 
Pathe omits this feature. Ford gives an "educational 
purpose" directed to the teacher, rather than to the 
children. The other three lessons (DeVry, Wythe and 
Aiton) give suggested oral introductions framed from 
the pupil 's viewpoint. Miss Aiton 's lessons, using the 
films for training in English, present both an oral and 
written study of "Words to be Taught" at the begin- 
ning of the lesson. The Ford leaflet suggests that the 
teacher read the titles to the pupils before the film is 
run. There is a question here if this practice would 
not become mechanical if used for all pictures. It 
would tend also to reduce the element of novelty, 
sometimes a help, and sometimes a hindrance to the 
work in hand. 

6. "Talking" with the Film 

Some of these lessons make no reference to "talking 
with the film," but all of these imply that the teacher 
will ask questions both during the running of the film 
and after the showing. If questions arg asked, re- 
sponse is expected; so the rule is that teacher and 
pupils talk and discuss during and after the film 
shoiving. 



150 



MOTION PICTURES FOR INSTRUCTION 



Three of the series indicate the specific points for 
oral discussion as the film unwinds and one (DeVry) 
indicates the stop-on-film points which may be used 
where a projector is employed having a stop-on-film 
shutter. 

This simple little device is likely to influence very 
materially the conduct of a film lesson, as well as the 
construction of the film itself. As soon as it is widely 
adopted, title footage can be reduced radically, and 
class discussion can become a much more prominent 
and natural feature of film lessons, as the stoppage of 
the film not only reduces noise, but stops the rush of 
the pictures, giving time for composed thought, and 
closer observation at any point. 

Some of the Ford leaflets advise against too many 
questions during the film presentations, as making for 
confusion,* claiming that most of the questions and 
discussion should be saved for the review or quiz 
period. 

Some of the factors which would determine the 
amount of talking attempted during the running of 
the film are the strength or weakness of the teacher's 
voice, nervousness under a definite speed pressure, 
familiarity with projector operation, adaptation of the 
film to the educational status of the children, the pre- 
dominance of emotional or intellectual appeal in the 

* "When teachers object that motion pictures move too rapidly for 
the child, they are, in reality, confusing rapidity of motion with 
brevity of scene, which is quite another and much more easily remedied 
fault. . . . Often it can be remedied by letting the action continue 
for a longer time or by repeating the action two or more times. 
Moreover, the film itself can be run a second and even a third time." — 
Motion Pictures in Education. — Ellis Thornborough. 



TENTATIVE PLAN FOR A FILM LESSON 151 



film, the effect of questions and responses, in a par- 
tially darkened room, upon the discipline of the class. 

7. Repeat Showing of Films 

Three of the five authorities practice a second show- 
ing of the film. This serves : 

1. To clear up mistakes of observation. 

2. To recall scenes for further discussion. 

3. To stimulate oral or written work by pupils. 

DeVry and Aiton make a point of the second show- 
ings; the Ford Leaflet seems to advise it, "or even a 
third presentation, as an occasional performance. 

The necessity for repeat showings emphasizes the 
desirability of schools purchasing their films, so that 
a class can use them as often as is necessary. Eental 
and loan films as a rule have to be returned to the 
owners too quickly for these repeat showings. 

8. Follow-up-Work* 

There is quite general agreemeyit among all types of 
lessons presented, as to provisions for further self- 
activity of the pupils. This is provided for in the list 

* "Caution should be observed to encourage initiative and an in- 
tellectually active attitude, and not to allow the use of motion pictures 
or other visual materials to overdevelop the attitude of passive re- 
ceptivity. The objection is sometimes made to the use of motion pic- 
tures that they make education too easy. This objection misses the real 
point. If the pupil actually gets the training we wish him to secure, 
it is no objection that he gets it easily. The real objection is that 
he never really completes his mastery of a subject merely from having 
it presented to him. He should make it a working part of his mental 
machinery. To provide for this, we must encourage discussion, in- 
dependent reading, problem and project work, and the like." — Pro- 
fessor Frank N. Freeman, in Visual Education. 



152 MOTION PICTURES FOR INSTRUCTION 



of questions as well as in the references. The DeYry 
leaflets give it a special heading and make definite as- 
signments in the nature of research and project prob- 
lems. Miss Aiton's lessons give detailed examples of 
the compositions, letters, newspaper write-ups, etc., 
written by the pupils as a result of the film recitations. 

Tentative Film Lesson Plan 

Having now isolated and examined the characteris- 
tics common to a series of film lessons worked out by 
serious investigators, it is in order for us to attempt a 
synthesis of these studies in the form of a Tentative 
Film Lesson Plan* subject, of course, to modifications 

* The Visual Educatiou Ltd. has combined both the pedagogical 
and business phases of visual education in Great Britain and has 
organized a complete service with machines, lecturers, and films. 
They have issued a booklet listing their films and service. On the first 
page they give "The Technique of a Visual Lesson/' which they have 
evolved for visual educationists. It is remarkable for its clarity and 
its agreement with the best American practices. 

THE TECHNIQUE OF A VISUAL LESSON 

It will inteiest educationists to study the lines on which a Visual 
Lesson is given. 

The Visual Lessons provide for careful preparation before the lecture. 
All the alertness, interest and eagerness to recite which the motion 
picture has aroused in the class is made use of to the fullest extent. 

1. The teacher is given beforehand an outline of the Visual Lesson 
and of the films which will be shown, in order to coordinate the school 
teaching with the lecture. 

2. The lecturer briefly prepares the class for the film without re- 
moving the important element of surprise. He must create the proper 
mood in which to view the picture. 

3. The picture is projected without comment. Should a remark be 
absolutely necessary, the picture is stopped while the lecturer speaks. 

4. The interest of the class is now at its height; questions are 
asked and a discussion ensues. 

5. The film is then shown a second time, wherever possible. This 
applies particularly to science lessons. 



TENTATIVE PLAN FOR A FILM LESSON 153 



for special types of subject matter, and unusual con- 
ditions of projection. This lesson plan would seem to 
be somewhat as follows : 

L Preview of film by teacher. 

2. The writing out of a synopsis of film titles, or in 
the absence of (1), a continuity. 

3. The introductory talk, map study, blackboard 
work, etc. 

4. A limited number of questions during projection 
(making full use of stop-on-film points for close 
discussion or observation). 

5. Discussion (includes supplementary facts, refer- 
ences, recitation and discussion, further illustra- 
tive material), slides, etc., that might add to some 
of the points made in the film or were omitted by 
the film. A few of the more important of these 
might occur under either (3) or (4) — pupil reac- 
tions in various forms. 

6. Questions after the film is run (including assign- 
ment for follow-up work). 

7. Second showing of film, either the same day or on 
subsequent days, for correcting errors of observa- 
tion or interpretation disclosed in (4) or (5), and 
for cultivating oral description and composition 
of the pupils, who at this time may be called upon 
to explain the scenes and in general tie up the 
film material with the general course. 

8. Tests — written compositions, letters, presentation 

6. Answers are now demanded to the specific questions that pre- 
ceded the picture, and pupils are encouraged to correct one another'g 
mistakes. 



154 MOTION PICTURES FOR INSTRUCTION 



of pupil research, and of the tests used in modern 
school systems. 

Nothing approaching a stereotyped formula is here 
attempted or advocated. One should remember that 
such a lesson is not a lesson on the film; it is a lesson on 
a school topic in the regular course of study, where the 
film constitutes only one kind of illustrative material. 

The Wythe Lessons 

The two Wythe lessons on civics are unique in the 
series of sample lessons, as the film lesson is in story 
form and the appeal is emotional. These lessons are 
nevertheless subjected to the most searching ped- 
agogical treatment and the progression of ideas is 
developed for the teacher in great detail, step by step 
and question by question. The result sought for the 
pupils is a changed mental attitude with a correspond- 
ing change in conduct toward foreigners. The whole 
lesson plan is affected by this shift of emphasis from 
the informational to the emotional point of view. 

The "Lesson Story" here takes the place of synop- 
sis of titles or of a continuity. In this case teachers 
are warned "not to discuss the picture while it is run- 
ning on the screen. ' 9 Here the unity and accumulative 
force of the succession of events would be disturbed 
by stopping and analyzing. The picture may be dis- 
cussed after the showing, or in the second showing of 
the film. 

Neither teacher nor pupils are expected to undertake 
all of the "Lesson Questions," "Special Problem Ques- 
tions," "Project Work," "Suggested Plan for the 



TENTATIVE PLAN FOR A FILM LESSON 155 



Week's Work," "Pupils' Reading," "Text Refer- 
ences, " and "Special Aids" given at the close of the 
Wythe lessons. The principle of selection should be 
employed. 

The Aiton-Kiernan Lessons 

In Miss Ait on ? s # lessons both the blackboard and 
map were used often during the showing of the film; 
careful recitation work of this character indicates that 
a film of ordinary length should scarcely ever be tuai 
off continuously, but there should be frequent stops for 
questions and discussion, A projector with stop-on- 
film shutter is a help to this process, but any projector 
may be stopped to allow discussion. The projector 
current should be switched off, and the room lights 
turned on. 

The heading "Correlated Material" occurs only in 
the Aiton lessons. It is explained by the unique type 
of students constituting the class. They were adult 
foreigners taking English and Americanization. The 
patriotic songs and preamble to the constitution are 
thus explained. 

The summary of the procedure used in the lessons 
given during 1923, 1924 and 1925 is so succinctly stated 
in two paragraphs of the Aiton-Kiernan report that 
they are quoted here for reference : 

"A motion picture lesson in its entirety means the 
previewing of the film and previous study of the sub- 
titles by the teacher; extensive research work; a pre- 

* The general plan of the lessons and their supervision was the work 
of Miss Maud E. Aiton. The actual lessons were taught by Mrs. H. 
C. Kiernan and Miss Grace Meyer. 



156 MOTION PICTURES FOR INSTRUCTION 



paratory lesson which includes the development of 
vocabulary; showing the film; reading the titles, and 
leading the students to ask and answer questions dur- 
ing this showing ; leading the students to take part in 
the discussion ; following the first showing of the film 
encouraging them to link the new with a like experience 
and helping them to tell the latter in English ; showing 
the film a second time ; assisting the students 9 reading 
of title ; teaching a correlated song or poem from the 
screen. On the following day the students ' oral repro- 
ductions are given and correlated work is done in 
spelling, and language work; and reading a letter or 
a composition on the subject of the picture or a subject 
inspired by the picture is written by each student. 
The final step in the lesson is the testing. Tests are 
planned as follows: five stimulating words, five sen- 
tences involving multiple choice, five completion sen- 
tences and five thinking questions. These tests are 
scored for English and content. The student comes to 
the school to learn English. In the intermediate class 
students themselves admit that they learn English 
quickly by the motion picture method. ' ' 

"Motion picture lessons in the Americanization 
School require a teacher who believes in the visual 
way, a teacher who is willing to do much research 
work, one who carries enthusiasm into the work, who 
sees that the visual way is the economical way in that 
a greater scope of content may be covered during the 
regular lesson period; one who is willing to do much 
preliminary work with the film, the titles and an exten- 
sive bibliography so that the motion picture lesson may 
serve its purpose, namely, to give to the adult foreign 



TENTATIVE PLAN FOR A FILM LESSON 157 



student the opportunity to visualize immediately that 
which he hears, speaks, reads, and the opportunity to 
learn the use of the English language by actually us- 
ing it."* 

Restraint in the Use of Motion Pictures 

Every new movement has its " wild oats ' ' period, and 
visual education is no exception. The wide publicity 
given to the Edison-Wells statements, in which they 
predict the coming of the time when films would dis- 
place teachers and textbooks in schools, misled a few 
teachers into intemperate film practices. One had only 
to have a sufficient quantity of educational films to 
bring in the new era of teacherless and bookless 
schools. These quantity doses of films reacted very 
unfavorably. 

It soon appeared that too frequent film lessons nulli- 
fied the specific contributions which the film had to 
make to school practice. The freshening of the pools 
of knowledge, due to variety and novelty, disappeared ; 
there was insufficient time for the introductory step of 
preparation. The tendency of frequent film lessons 
was to accept film showings for film lessons. There 
was not time enough for previews of the films by the 
teacher, the selection of salient points from irrelevant 
matter, nor for planning the questioning, reciting, and 
assignments which would compel digestion of the 
pertinent material and relate it to the body of knowl- 

* It is interesting to compare the successful use of motion pictures 
in teaching English to foreigners, with the conclusion of Professor 
Freeman, with reference to its use in teaching a foreign language to 
Americans. See No. 5, p. 184. 



158 MOTION PICTURES FOR INSTRUCTION 



edge and the mental activity already built up around 
the subject matter. 

There resulted a habit of hasty reading of titles and 
a sort of eye concentration rather than mind concen- 
tration. A bare enumeration of objects and scenes 
was accepted as educational responses. Film sched- 
ules required the rapid movement of the films between 
schools and there was no time for a second running of 
the film. This second running is a frequent necessity 
when serious educational work is undertaken with a 
motion picture. 

One Slide to a Recitation 

Stereographs and slides have already passed 
through this quantitative stage in the school classroom. 
Educational ' 1 sets" frequently consisted of from 30 to 
50 pictures, and in the early days of their use in 
schools, the whole set was shown to the class in the 
recitation period. It scarcely afforded a half minute 
to a slide ; barely time to change the slides in the car- 
riers. 

The author at one time conducted a college depart- 
ment of visual instruction. It distributed slides and 
films to teachers, clergymen and welfare workers of 
the state. It was interesting to note the preference 
for slide sets containing large numbers of slides. One 
minister wrote in that he wanted the slides for an eve- 
ning service and that it must contain at least 90 slides. 
If he just pushed through the whole set, one after an- 
other, barely announcing the title of each, the exercise 
would have consumed 45 minutes, and the first effects 



TENTATIVE PLAN FOR A FILM LESSON 159 



of surprise and charm would have been lost after the 
first ten minutes, in the dull monotony of a slot machine 
performance. 

Obviously, tests made on this sort of slide lesson re- 
vealed disappointing results. The Keystone View 
Company about this time organized their "600 set" to 
cover the program of the elementary school. Together 
with the teacher's manuals accompanying the sets 
they brought order out of chaos. The "600" were 
listed in small groupings of a few stereographs or 
slides each and an elaborate cross reference system 
made one slide do duty in many groups. Cross refer- 
encing focused the attention on individual pictures and 
minimized the value of "sets." Finally, this firm de- 
veloped a plan of intensive picture study, which made 
one picture do for a whole recitation. Undiscovered 
educational values of pictures immediately appeared. 
There was time for a leisurely and repeated viewing 
of the picture by teacher and pupil, and observations 
and interpretations took the place of "seeing." 

A Short Length Film Every Two Weeks 

The treatment of the educational film is now under- 
going the same development. Mr. F. S. Wythe, pro- 
ducer of the series of films on citizenship, and organ- 
izer of the Neighborhood Motion Picture Service, Inc., 
for schools, has had a prolonged and varied experience 
in handling educational films in schools. His reels now 
are seldom over 600 feet, and he advocates a film 
study of one subject every two weeks. Here is a re- 
turn to sanity and restraint in the use of pictures. 



160 MOTION PICTURES FOR INSTRUCTION 

Such intervals give time for the necessary steps of 
preparation, presentation, reflection and application, 
characteristic of modern pedagogical procedure. The 
three film libraries presented in this book offer from 
four to sixteen films during the school year for any one 
subject of study — with reels usually well under 1,000 
feet. The DeVry educationals average 650 feet and 
the Bray series much less than this. 

Made-to-Order Films in Sight 

The ideal way is for teachers to have made up for 
their classes short strips on the particular topics which 
lend themselves best to motion picture treatment. 
Hitherto this has been impossible because producers 
preferred to rent their own reels rather than accept 
orders for special scenes made from the negative. Ke- 
cently the DeVry Corporation has announced a nega- 
tive library of nearly 200,000 feet of geography and 
animal topics, from which they will make prints to 
order of any desired length and in any desired com- 
bination, so that even a 50-foot reel can be purchased. 
It is to be hoped that the larger producers can be in- 
duced to open up the wealth of negative they possess 
to this sort of use in the schools. It will mean some 
further use at least of negative which in most cases is 
stored in vaults after only a year or two of use, having 
no further productive value, which in the end reaches 
the junk vats for the mere recovery of the silver salts. 

Adaptation to Grade 
As explained in Chapter I (p. 14), pictures depend 



TENTATIVE PLAN FOR LESSON 161 



more upon the teachers' questions and explanations for 
adaptation to grade than they do upon the content of 
the pictures themselves. The exceptions to this state- 
ment are in such obvious cases as complicated machin- 
ery or microscopic details ; such films are designated as 
Technical in the lists. Dramas and attempts to pic- 
ture abstractions are not included in the Libraries 
recommended in this book. 

Daylight Screens 

Daylight (translucent) screens have facilitated the 
use of films in classrooms. In translucent screens the 
image is seen by transmitted light ; in ordinary opaque 
screens, by reflected light. Since reflecting cloth sur- 
faces absorb much of the light they receive, only a 
portion of the light is left to convey the image to the 
eye. Transmitting surfaces on the contrary absorb 
but little of the light and, therefore, convey a larger 
part of the light image to the eye ; hence their superi- 
ority for projection in daylight. However, the eye 
must receive light rays direct from the illuminant or 
reflector, so that the light is but little diffused, and 
both the area and angle of brilliancy are considerably 
narrower than in the case of reflecting screens. Trans- 
lucent screens permit film and slide showings to be 
made in full daylight, if the projector is placed behind 
the screen, with the class in front. This practice is 
excellent with small classes, and avoids turning lights 
off and on. But it is difficult to manage with large 
classes, since the daylight pictures are brilliant only 
with small screens. 



CHAPTER VII 



THREE IMPORTANT STUDIES 
ON 

THE USE OF EDUCATIONAL FILMS 

A number of magazine articles,* pamphlets, and sev- 
eral books have appeared to represent the growing 
interest in visual education. Among these are three 
books of such outstanding importance in the evaluation 
and treatment of educational films that a somewhat 
extended account of them is warranted. 

The following is the pioneer study in the field, made 
by a competent psychologist employing scientific safe- 
guards for group experiments and using modern edu- 
cational tests and computations. It was approved as 
a thesis for the doctor's degree by Columbia Univer- 
sity. His introduction of exact methods in the field 
of visual education discouraged further publication 

* Other experimenters in visual education are Professor J. W. Shep- 
herd of the University of Oklahoma, who made carefully controlled 
tests as a thesis at the University of Wisconsin ; # Rov L. Davis, a thesis 
for a degree at the New York University; Dr. E. Crandall, Director 
of Visual Instruction, New York City schools ; John V. Lacy in Teachers 
College Record. 

Ellis and Thornborough refer also to interesting accounts of methods 
used in teaching with films by Mr. Rabenort of the New York City 
schools; Dudley Grant Says of the Chicago public schools; J. H. Wilson, 
former Director of Visual Education in Detroit schools; Edwin Y. 
Montave, of the James G. Blaine Public School, Philadelphia; Miss 
Terry, of Port Arthur, Texas; Miss Marietta L. Higgins, Hackensack, 
New Jersey; Eugene E. Nifennecker, Director of Bureau of References, 
New York City; and H. A. Balcom, Assistant superintendent of Schools, 
Newark, N. J. 

162 



THREE STUDIES IN EDUCATIONAL FILMS 163 



of loosely conducted and uncontrolled 4 ' experiments, " 
and of fantastic prophecies by uninformed enthusiasts. 

We are fortunate in getting permission from Dr. 
Weber to use his own summary of this monograph in 
the Visual Instruction Handbook for 1925, with some 
additions made especially for this chapter. 

I 

COMPARATIVE EFFECTIVENESS OF VISUAL 
AIDS IN SEVENTH GRADE INSTRUCTION 

J. J. Weber, Ph.D. 

Published by Educational Screen, Inc., 5 S. Wabash 

Ave., Chicago 

In recent years the educational world has heard 
much of visual instruction; and it is believed by many 
of its devotees that visual instruction will revolution- 
ize our present teaching technique and bring about a 
new order of learning. Nothing, however, could be 
farther from the truth. Visual instruction is not at 
all new. It is as old as education through visual ex- 
perience itself; and many of the so-called visual aids — 
models, charts, graphs and diagrams — are of long 
standing. But visual instruction has recently been 
given a powerful impetus by the perfection of photog- 
raphy. Practical photography has created for us vari- 
ous media of manifest instructional value. They are 
the book illustration, the photograph, the stereograph, 
the lantern slide, and the motion picture. 

Early in 1920 the problem of visual aids had grown 



164 MOTION PICTURES FOR INSTRUCTION 



sufficiently important to warrant a serious investiga- 
tion on the part of some research man in the field of 
education. Being a graduate student in Teachers Col- 
lege, Columbia University, at that time, and in quest 
of a degree, I undertook the investigation to provide 
me with data for the doctor's thesis and, incidentally, 
to shed more or less light upon a timely problem in pro- 
fessional education. The investigation was mainly in 
the form of a number of experiments which were con- 
ducted in Public School No. 62, Manhattan, New York 
City. 

A Problem in Economy 

The central problem of the investigation was : Will 
the use of pictures along with verbal instruction effect 
economy in the learning process? And, if so, hoiof 
The answers to these problems were found in a series 
of tests which, from many angles, illuminated the whole 
subject of visual aids in education. Great care was 
exercised in the formulation of the tests as well as in 
the conclusions deduced from the observed facts. 

Some Secondaby Problems Stated 

But, as the central problem was rather complex, it 
had to be subdivided conveniently into its major as- 
pects. Accordingly, the following secondary problems 
were definitely formulated for special investigation: 

1. The distribution of primary sense experiences? 

2. The effectiveness of informational motion pictures 
in combination with verbal instruction? 

3. The value of a simple drawing in creating a com- 
posite visual image ? 




Dr. J. J. Weber 
Author of "Comparative Effectiveness of 
Visual Aids" — p. 163 



THREE STUDIES IN EDUCATIONAL FILMS 165 



4. The value of a diagram in developing a relatively 
abstract concept? 

5. The comparative effectiveness of four different 
methods of presentation? 

6. The interest-stimulating power of pictures, in 
comparison with verbal appeal? 

A Few Beservations 

Before taking up the foregoing secondary problems 
in detail, allow me to make a few reservations : 

1. The conclusions after the various experiments 
hold only for these same experiments as per- 
formed under the conditions described! 

2. The methods employed in the experiments are 
necessarily inflexible and, therefore, not practical 
for actual classroom teaching! 

3. The results of this investigation indicate a dis- 
tinct value for pictures only as aids, not as sub- 
stitutes ! 

Education Based Upon Experience 

It is an axiomatic truth that all our learning is, in 
the last analysis, based upon experience. Our com- 
mon, everyday language, for instance, has grown in 
number of words and in depth of meaning from count- 
less experiences since infancy. It is also true that 
various types of experiences have played a role in this 
growth, some more and some less. Illustrations will 
make it clearer. The word "green" is chiefly the 
product of visual experiences, while the word "loud" 
is mainly auditory in origin; "work" is largely the 



166 MOTION PICTURES FOR INSTRUCTION 



product of muscle sensations, while ' 1 sick' ' has grown 
principally from organic feelings; and "pepper" is 
the combined product, in the order of importance, of 
taste, smell, sight, hearing and touch. 

Empibical Origins of Words 

By means of a questionnaire, which was answered by 
eighty-one psychologists and experienced educators in 
tracing back to their empirical origins fifty words from 
our daily language, I obtained the following results : 

Visual experiences contribute forty per cent ; 

Auditory experiences, twenty-five per cent ; and 

All the others together, thirty-five per cent. 

Motion Pictures Combined with Verbal Instruction 

Three methods were compared: (1) a " lecture " les- 
son in geography, followed by a short review-quiz; 
(2) the same lesson, followed by a correlated travel- 
ogue film; and (3) the film first, and then the lesson. 
The experiment was rotated through three experi- 
mental units, and approximately 500 7A-grade pupils 
participated. The comparative effectiveness of the 
various methods of presentation was measured with 
a 60-question yes-no test after each experimental 
unit, and the final results were : 
Method I: Lesson-Review . 45.48 points (100% ) 
Method II: Lesson-Film . . 49.86 points (110%) 
Method III: Film-Lesson . . 52.69 points (116% ) 

Conclusion from the Foregoing 
The results suggest the following inferences : 



THREE STUDIES IN EDUCATIONAL FILMS 167 

1. When a correlated film is used as an aid in a 
seventh-grade geography class it will increase the ef- 
fectiveness of the lesson decidedly. And any teacher 
who teaches geography today without the aid of motion 
pictures is simply "traveling by horse and buggy." 

2. The increase in effectiveness is the result of (a) 
greater ease of comprehension and (b) a higher degree 
of satisfaction as a consequence. The presentation is 
more realistic, and, therefore, the children understand 
it quicker and enjoy it more. 

3. Since motion pictures provide what may be called 
vicarious experience (substitute or make-believe), they 
should precede the lesson when the subject-matter is 
relatively foreign to the learner. This should not be 
taken too literally, however. What is really meant 
here is that the pictures should come relatively early 
in the presentation to provide the children with a fund 
of realistic imagery. That will enable them to inter- 
pret the teacher 's statements in terms of their recently 
acquired visual experience. In short, they will know 
what he is talking about. 

4. Summarily stated, the foregoing results establish 
the value of the motion picture as an aid to, not as a 
substitute for, verbal instruction. 

The Value of a Simple Drawing in Creating a 
Composite Visual Image 

This experiment is highly suggestive. Four 
methods were compared; but, for the sake of brevity, 
the last one has been omitted here. The three were : 
(1) a description alone of an "imaginary animal"; (2) 



168 MOTION PICTURES FOR INSTRUCTION 



a drawing of the animal shown alone; and (3) the 
drawing and the description presented at the same 
time. Approximately 250 7A-grade pupils partici- 
pated. The comparative effectiveness of the various 
methods of presentation was measured with a free- 
recall drawing test, and the final summary shows that : 
Description alone effected an average score of 40.11 
points (100%); 

Drawing shown alone, 53.13 points ; and 
Drawing with description, 55.12 points (137%). 

Inferences from the Above 

1. In developing a composite visual image a pictorial 
presentation is more effective than a verbal presenta- 
tion. 

2. The increase in learning is characterized by (a) 
more memories, (b) clearer images, (c) better organi- 
zation, and (d) less misinterpretation. 

3. Verbal description, when aided by pictorial pres- 
entation, is the most effective method of the three. 

4. Perhaps the most powerful double-barreled argu- 
ment in favor of visual aids is that their use (a) utilizes 
a native interest and (b) prevents many deplorable 
misconceptions. The ' i imaginary animal ' ' experiment 
has furnished us startling proof. 

The Value of a Diagram in Developing Abstract 

Concepts 

Do you know exactly just how an artesian well 
works? In this experiment, I presented an explana- 



THREE STUDIES IN EDUCATIONAL FILMS 169 



tion of the phenomenon in various ways, as : 

(a) verbal description without the aid of a diagram; 

(b) verbal description after showing the diagram; 

(c) verbal description before showing the diagram; 

(d) verbal description while showing the diagram. 
In conducting the experiment I discovered, however, 

that it had been poorly planned. Hence, it was not 
carried to a point of statistical reliability. I shall not 
describe it here, partly for this reason and partly for 
the reason that I repeated the experiment in revised 
and more elaborate form the following year at the Uni- 
versity of Kansas. 

EFFECTIVENESS OF DlFFEEENT METBCODS 

In this experiment four exclusive methods were com- 
pared: (1) Being taught a lesson orally by the teacher; 

(2) studying the same lesson from the printed page; 

(3) viewing the subject-matter of the lesson as depicted 
on the motion picture screen; and (4) viewing the 
screen under the guidance of oral comment. The ex- 
periment was rotated through four experimental units, 
and approximately 600 7B-grade pupils participated. 
The comparative effectiveness of the various methods 
of presentation was measured with a battery of three 
tests — a yes-no, a completion, and a drawing test — 
after each experimental unit, and the final results were : 

Being instructed orally . . 48.62 points (100%) 
Studying the printed page . 49.22 points (101%) 
Viewing the film silently . . 50.34 points (103%) 
Film with oral comment . . 52.55 points (107%) 
The average of the "film with oral comment " pres- 



170 MOTION PICTURES FOR INSTRUCTION 

entation is decisively higher than that of any of the 
other three methods. Since this agrees with the find- 
ings in the previously described experiments, it is safe 
to assert now that the value of the picture as an aid in 
verbal instruction stands proved. 

Results from Concealed Tests 

In fifteen chances out of fifteen the results show 
that the pictorial presentation was invariably at least 
two per cent more influential than the verbal appeal. 

General Conclusion and Outlook 

Nearly five years of continued research in visual in- 
struction have left their influence upon me in the form 
of a conglomeration of intuitions with respect to the 
future of visual aids in the schoolroom and some of 
these intuitions are herewith given forth in a prophecy 
that may be entertaining if not actually instructive. 

The most promising soil for the growth of visual 
instruction is undoubtedly the elementary school. The 
most important function of visual aids is that of being 
a passive source of information, satisfaction, and in- 
spiration in the solution of problems and the execution 
of pupil projects. 

Since visual aids provide vicarious experience, their 
value increases up to a certain point with lack of ex- 
perience on the part of the learners. Consequently, 
the more limited a child's training is, the greater may 
be the potential effectiveness of the picture or other 
aid; and similarly, the weaker the child is in native 



THREE STUDIES IN EDUCATIONAL FILMS 171 



capacity, the greater is probably the value of objective 
illustrations. 

One caution, however, must be voiced. Viewing a 
picture does not necessarily effect learning. Seeing is 
merely a fraction of the learning process. Learning 
results from thinking, feeling, doing — in brief, from 
cerebration. So, unless the visual impression is seized 
upon vigorously by questioning, application, and pupil 
expression, it will have little or no effect on the pupil's 
memory or character. 

In conclusion, the biggest task in the field of visual 
instruction now is the actual elaboration of a specific 
methodology to be incorporated with our established 
technique of teaching. Every subject in the curricu- 
lum and every one of its fundamental elements that 
can be elucidated with either a visual scene or a visual- 
ized scheme, will have to be correlated with one or 
more visual aids. And every teacher will have to 
know how to secure, systemize, and utilize most eco- 
nomically the various aids and be an expert in guiding 
the pupils in their most effective use* 

II 

VISUAL EDUCATION 

A comparative study of motion pictures and other 
methods of instruction 

Edited by Frank N. Freeman 

Thirteen contributors, 391 pages. The University of 
Chicago Press, Chicago, Illinois 



172 MOTION PICTURES FOR INSTRUCTION 



This most elaborate study yet made of the value of 
motion pictures in instruction was made possible by a 
grant from the Commonwealth Fund. The appoint- 
ment of Dr. Freeman as director of the experiments 
assured scientific procedure and responsible investi- 
gators. 

The following experiments are reported: 
I. Comparisons of Different Methods of Visual 

Instruction, by F. Dean McClusky. 
II. A Comparison of Film and Oral Instruction, 

by E. H. Eeeder and Frank N. Freeman. 

III. The Relative Effectiveness of Six Forms of 
Lesson Presentation, by Haddon W. James. 

IV. Comparison of Six Modes of Presentation of 
Subject Matter, by F. D. McClusky and H. Y. 
McClusky. 

V. The Effectiveness of a Motion Picture Film 
Consisting Largely of Tables, Maps, and 
Charts, by Frank N. Freeman, E. H. Reeder, 
and Jean A. Thomas. 
VI. The Effectiveness of a Motion Picture Used as 
an Introduction or as a Summary, by A. P. 
Hollis. 

VII. The Use of a Motion Picture Film to Teach 
Position and Penholding in Handwriting, by 
Frank N. Freeman, Lena A. Shaw, and D. E. 
Walker. 

VIII. Comparison of Motion Pictures, Slides, Stereo- 
graphs, and Demonstration in Teaching Hand- 
work, by F. D. McClusky and H. Y. McClusky. 
IX. The Effectiveness of the Film and Demonstra- 
tion in Teaching Physics, by E. C. Rolfe. 



Courtesy of Educational Screen 

Professor Frank N. Freeman, University of Chicago 
—p. 171 



THREE STUDIES IN EDUCATIONAL FILMS 173 



X. The Effectiveness of the Film and Demonstra- 
tion in Teaching Cooking, by A. P. Hollis. 
XI. Stereographs and Slides in Teaching Oral 
English to Foreigners, by Nina Joy Begiinger. 
XII. Oral and Film Instruction in Health Education, 

by Carolyn Hoefer and Edna Keith. 
XIII. Study of the Content of Educational Films, by 
H. Y. McClusky. 
The investigation was undertaken by men and women 
trained in the statistical methods of the university 
graduate schools, and represents a balanced set of ex- 
periments in which the errors of one would tend to be 
compensated by the work of the other twelve. 

Professor Freeman's report (essentially a sum- 
mary of his book, Visual Education) was made before 
the Department of Superintendence of the National 
Educational Association at its Chicago meeting in 1924. 
The press of the city was almost unanimous in pro- 
claiming it a condemnation of the use of motion pic- 
tures in the schools. It was a typical press reaction 
to anything educational savoring of controversy. In 
answer to a letter addressed to Professor Freeman at 
the close of the meeting, he wrote as follows : 

"My dear Mr. Hollis: 

The report of my talk was, as you probably have guessed, mis- 
leading. The quotations themselves were accurate, except the first, 
but if you will read the report carefully you will see that the de- 
scriptive material which was added by the reporter went consid- 
erably beyond anything which I said. 

Take, for example, the quotation concerning the interest which 
the pupils have in motion pictures and the headline of this topic. 
My statement was that the value of motion pictures lies more in 



174 MOTION PICTURES FOR INSTRUCTION 



the peculiar content of the experience which they make possible 
than in their stimulating effect upon the child's interest. I said 
that the entertainment movie awakens a very strong interest, but 
that the educational movie does not arouse a corresponding degree. 
The reporter exaggerated this statement by saying that the child 
falls asleep. That exaggeration, of course, gives a false impression. 
The main heading, I suppose, was taken from another statement in 
which I said the effectiveness of motion pictures has undoubtedly 
been overestimated in comparison with slides, stereographs, still 
pictures, and demonstration. That does not give warrant for the 
statement that educational films are condemned. What I said was 
that they were not as effective as many people claim them to be. 
and our results bear that statement out. If as much emphasis had 
been given to the quotation — "motion pictures have a distinctive part 
to play; this is the representation of motion in those cases in which 
it is necessary for the pupils to understand motion," — as of the some- 
what more critical statements, the reader would have been left with 
a different impression. 

Of course, it is very unfortunate that distorted reports of this 
sort get into the papers. We do not suffer any more than any 
other class of people from such reports, and I do not believe any- 
thing can be done about it. The reporter wishes to make a sensa- 
tion and in order to do so he selects the aspect of the subject which 
he thinks will be striking, failing to give the other side or to give 
the qualifications. 

You can at least be assured that the general tenor of the report 
did not represent the temper of my paper. 

Very truly yours, 

[Signed] Frank N. Freeman. 

This letter was published in full in the Educational 
Screen for February, 1924. 

The last paragraph of Professor Freeman's Final 
Summary and Interpretation, which is presented be- 
low, should put at rest any suggestion of antagonism 
to the educational use of motion pictures. The real 



THREE STUDIES IN EDUCATIONAL FILMS 175 



friends of visual education welcomed tlie report as 
a timely warning to enthusiasts outside of the educa- 
tional field against exaggerated claims broadcasted in 
the press, and also as a constructive contribution to the 
special service which the motion picture is peculiarly 
fitted to render to education. 

It is evident from the limited number of lessons 
given in a particular schoolroom or assembly room by 
a certain teacher using a particular projector and film 
and subject to certain light and operating conditions, 
that the conclusions in this report cannot be taken as 
general conclusions for the methodology of visual edu- 
cation. They are conclusions, or, as Professor Free- 
man prefers to put it, summaries and interpretations 
for this particular group of experiments. As data to 
incorporate with thousands of other similar lessons 
given under widely differing conditions the series is of 
great value. It will be several years before a sufficient 
body of data has accumulated to make "general con- 
clusions' } at all tenable. 

In support of this view, the author has already 
pointed out certain circumstances under which "stills" 
in a motion picture film may be justified, and he has 
called attention to factors which may make the 
"teacher talking with the film" a success or failure. 

Final Summary and Interpretation 

1. The relative effectiveness of verbal instruction as 
contrasted with the various forms of concrete experi- 
ence, represented in visual education, depends on two 
major conditions, the nature of the instruction to be 



176 MOTION PICTURES FOR INSTRUCTION 



given and the character of the pupils' previous ac- 
quaintance with the objects uihich are dealt with in the 
instruction. 

This major principle is supported, in the first place, 
by the fact that the relative effectiveness of verbal and 
visual instruction varies. At Detroit, oral and film in- 
struction were found to be equal in the orange culture 
and irrigation experiments, while the film surpassed 
oral instruction in the Egypt experiment. In James's 
experiments oral instruction proved to be as effective 
or nearly as effective as motion pictures in the case of 
certain films, but decidedly inferior in others. 

The contrast which is here drawn is between concrete 
experience on the one hand and the comparing, analyz- 
ing, and generalizing operations on the other. The 
contention is that these latter ways of working over 
experience and converting raw experience into thought 
are very much facilitated by language, if they are not, 
in fact, largely dependent upon it. Certainly com- 
munication of general or abstract ideas is very clumsy 
and difficult without language. 

The distinction which is commonly drawn in dis- 
cussing visual education, is not between sensation and 
thought, but rather between one sense and another. 
Vision is contrasted with the other senses, with hear- 
ing, which is identified with language, and with touch, 
taste, smell, etc. In making this distinction, the pur- 
pose is to attack language, which is represented by the 
sense of hearing. Nobody proposes to set up direct 
experiences with objects through hearing, touch, smell, 
or taste as competitors with sight for preeminence. 
The issue is not between the sense of sight and the 



THREE STUDIES IN EDUCATIONAL FILMS 177 



other senses. It is between concrete or sensory ex- 
perience and thought. 

These facts of the study suggest that pictures may 
be useful for presenting some types of subject matter. 
Doubtless no careful thinker would question this. 
That pictures have a legitimate function is obvious. 
So far as words are concerned, the very constitution 
of many of the educational motion picture films them- 
selves indicate that their authors find it difficult, if not 
impossible, to present some subjects, or some aspects 
of subjects, by means of pictures alone. In some cases 
they resort to verbal discussion and explanation to a 
very large extent. A striking example of the use of 
much verbal material, and tabular material of a sim- 
ilar nature, is to be found in the film entitled Bail- 
roads in the United States. This, however, is by no 
means an isolated instance. The study of the 
content of films, made by H. Y. McClusky, indicates 
that many writers of scenarios for educational films, 
finding themselves unable to express the ideas they 
wish to express by pictures, resort to language. 

The present study gives no support to a belief that 
pictures may be substituted for language. It does in- 
dicate, however, that they have a definite function to 
perform. This function is determined by the nature 
and purpose of the instruction. The purpose of in- 
struction at one time is to lay the foundation for 
thought, reflection, generalization, application. This 
foundation consists in direct experience with material 
objects. At another time the purpose is to build upon 
this foundation the superstructure of thought. The 
analogy should not be pressed, since it implies too 



178 MOTION PICTURES FOR INSTRUCTION 

much separation in time and space between concrete 
experience and thought, but it serves to set forth the 
distinction between getting experience through contact 
with the material world and the elaboration of that 
experience. 

The evidence is that pictures are an invaluable 
means of getting certain kinds of experience of a con- 
crete sort. In the detailed reports some light is 
thrown on the particular kinds of instruction which 
may be served especially well by pictures. The analy- 
sis of the curriculum, in order to determine what can 
advantageously be taught with the aid of pictures, is, 
however, only begun. This investigation will have 
served a purpose if it emphasizes the need of such 
analysis. 

That the character of the pupils' previous experi- 
ences is also an important condition which determines 
whether visual or verbal instruction is the more im- 
portant is suggested by some of the variations which 
appear in the results of the experiments. For ex- 
ample, in Hollis's cooking experiment the group which 
made a high score after oral instruction had previously 
had five months more instruction in cooking than had 
the other groups. Their superiority may be due in 
part to their ability to grasp oral directions because of 
this previous experience. In James 's experiment, oral 
instruction proved to be relatively effective in the pre- 
liminary experiment with the film, The Queen of the 
Waves, and in the latter experiment with the films, 
Yellowstone Park and Toads. On the other hand, oral 
instruction was clearly less effective in the case of the 
films, A Woolen Yarn, Cuba, The Isle of Sugar, Lum- 



THREE STUDIES IN EDUCATIONAL FILMS 179 



bering in the North Woods, The Mosquito, Through 
Life's Window, and Waste Disposal in Cities. The 
first group of films describes objects or processes which 
the child can understand or interpret in the light of his 
past experience. For example, The Queen of the 
Waves deals with the development of the forms of 
water conveyance, the log, raft, dugout, canoe, sailboat, 
steamboat, etc. The children had doubtless either seen 
all these objects, or at least pictures of them. Yellow- 
stone Park deals with forms of natural scenery, which, 
again, the children may have seen pictures of or which 
are sufficiently like objects they have seen to be com- 
prehended by them from a verbal description. Sim- 
ilarly with the film, Toads. The second group, on the 
other hand, deals with detailed processes, such as those 
of manufacture, or with more or less intricate or ab- 
struse biological facts, such as the development of the 
mosquito or the structure of the eye, which the child 
cannot picture in terms of his previous experience. 

This study has only opened up the problem of de- 
termining in detail at what points the child's experi- 
ence with the material world is adequate to serve as 
the basis of the development of the ideas which we wish 
to develop, and at what points it needs to be supple- 
mented by further direct experience. Further re- 
search is necessary and will be necessary for many 
years. This further investigation should deal with 
each subject or division of instruction intensively, and 
should analyze the curriculum and the method of in- 
struction with reference to this problem from the first 
grade up. 

Our first conclusion deals in general with the rela- 



180 MOTION PICTURES FOE INSTRUCTION 



tionship between visual education as a representative 
of concrete instruction and the more abstract verbal 
instruction. The larger portion of the investigation 
was concerned more particularly with a comparison 
and analysis of the various forms of visual education 
than with this more general relationship and we now 
turn to a consideration of this more detailed study. 
The most frequent comparison which was made was 
that of the effectiveness of a motion picture film and 
of some other form of visual instruction. 

2. The comparison of the motion picture film with 
other visual aids (slides, stereographs, still pictures) 
as means of informational instruction, indicates that 
the motion picture is superior within a restricted range 
of subjects and that outside this range of subjects the 
older devices are as effective or more effective them 
motion pictures. 

The most striking case in which the film gave su- 
perior results was in McClusky's experiment in which 
a portion of the steamboat film showing the motion of 
the steamboat was compared with a still picture of the 
same object. It is significant that in order to obtain 
a film for comparison which w 7 ould be chiefly a picture 
of motion it was necessary to abstract a portion from 
one of the existing films. When such a portion 
was abstracted and isolated for comparison it gave 
superior results. 

James also found the film to be superior to still 
pictures. In his comparisons, verbal explanation was 
shown alternately with still pictures just as sub-titles 
alternate with motion pictures in a film. The verbal 
explanation used by James was a copy of the sub-titles 



THREE STUDIES IN EDUCATIONAL FILMS 181 



of the film. If we take these results alone they seem 
to indicate that the pictures of objects in motion make 
a stronger impression or give more information than 
do still pictures. It happens that in the Cleveland and 
Chicago experiments the film, Lumbering in the North 
Woods, was also used, and the comparison between the 
film and slide was made which indicated the film to be 
superior. But when the same comparison was made 
with the film, Iron and Steel, the slide proved to be 
fully as effective as did the film. Whether this differ- 
ence is due to the nature of the subject-matter or to 
the difference in the merit of the films we cannot say. 
We can only say that in some cases motion appears to 
add to the effectiveness of the pictures, while in other 
cases it does not. 

In the application of this conclusion we must take 
account of the fact that the manner of using still pic- 
tures which was observed by James in order to parallel 
the films as closely as possible is inferior to the usual 
method of discussion during the viewing of the picture. 
The comparison which has just been described was 
made to discover whether motion adds to the effective- 
ness of pictures which are otherwise alike. The com- 
parisons which are about to be described were made to 
determine how the motion picture compares with the 
usual still-picture-oral-comment procedure. 

Our comparisons indicate that in most cases the 
informational motion picture films as now organized 
are not superior to slide, still picture, or stereograph 
accompanied by the usual comments. In many cases, 
particularly in McClusky's experiments, still pictures 
gave evidence of superior effectiveness. This conclu- 



182 MOTION PICTURES FOR INSTRUCTION 



sion runs counter to the opinion of many concerning 
the effectiveness of motion pictures and requires 
further analysis and explanation. 

It has already been pointed out that there are some 
facts which can be grasped better by a view of objects 
in motion than by seeing them at rest. For example, 
the operation of a machine or the complex of move- 
ments which compose an act of skill are probably most 
clearly apprehended by means of the perception of the 
motion. But educational motion pictures have by no 
means confined themselves to such facts. A compara- 
tively small proportion of educational films deal with 
such content, and those which do contain much material 
which is not intended to promote the understanding of 
action. 

Motion pictures, then, appear to have two grounds of 
merit. First, there are some cases in which the under- 
standing of the action of an object requires that it be 
shown in motion. Second, it may be — though on this 
point we have less certain evidence — that motion makes 
objects attractive and as a consequence attracts close 
attention and prompts to better learning, even though 
it is not necessary to an understanding of the subject. 
The first type of advantage is so great as to justify 
motion pictures in those cases where it is essential to 
grasp the nature of a movement. The second type of 
advantage must be weighed in comparison with the 
advantages of still pictures. 

The first advantage of the still picture appears to be 
that it permits analysis. The picture provides the 
opportunity for a more active study attitude on the 
part of the pupil. In the second place, the still pic- 



THREE STUDIES IN EDUCATIONAL FILMS 183 



ture gives greater opportunity to the teacher to exert 
a personal influence and to stimulate the class to active 
thought. Our experiments give clear evidence on the 
last-mentioned factor, the influence of the teacher. Its 
importance is indicated by the advantage of oral com- 
ment by the teacher during the showing of a film, by 
the superiority of demonstration in teaching certain 
acts of skill and by the superiority of the illustrated 
lecture to an illustrated text. 

Thus far our discussion has dealt chiefly with the 
use of motion pictures and other visual aids in that 
type of instruction which aims largely at the acquisi- 
tion of information by the pupil. A number of experi- 
ments were made in subjects in which the information 
to be gained is of an especially concrete sort, as in a 
science, or in which the pupil is required to learn to do 
something instead of merely acquiring information, as 
in manual arts and to some extent in laboratory sci- 
ence. 

3. In teaching science, demonstration by the teacher 
is superior to the motion picture. This is proved to be 
true in both Hollis's and Kolfe's experiments. In both 
cases the proficiency of the pupils was measured in 
whole or in part by their ability to perform or to do 
something, not merely by their ability to express their 
knowledge in language. Wherein the superiority of 
the teacher lies is a matter of speculation, but that it 
exists is clear. It seems likely that it may be accounted 
for in part at least by the influence of the teacher >s 
personality in attracting and holding the attention of 
the pupils and by the fact that the teacher can watch 
their behavior and vary the presentation by amplifying 



184 MOTION PICTURES FOR INSTRUCTION 



the discussion when they do not appear to understand, 
or passing on when they have the point and are in 
danger of becoming bored. In our experiments the 
second factor could operate in only a minor degree 
since the demonstration was designed to duplicate the 
film. 

4. In teadhing how to do or make something, demon- 
stration, where it can advantageously he carried oat, is 
superior to the film, but the film is superior to all other 
methods with which it was compared. The attempt 
has been made in this statement to combine the re- 
sults of the handwriting experiment with the results 
of the mat and box experiments. It will be remem- 
bered that in the handwriting experiment the film was 
compared with the usual verbal instruction and with 
the procedure of giving the pupils their scores as 
means of improving the pupils' position. In this ex- 
periment, demonstration was not used and it would 
probably have been difficult to use. The film excelled 
the ordinary method of teaching. 

In the mat and box experiments, besides demonstra- 
tion and the film, the slide and stereograph were used. 
The demonstration was superior to both. Taking the 
two experiments together the film came second in 
effectiveness, though it was slightly excelled by the 
stereograph in the box experiment alone. In the mat 
experiment the slide excelled the stereograph. 

5. Pictures appear to be very effective as devices to 
help in gaining proficiency in the oral use of a foreign 
language. Whether the superiority of the picture 
group is due to the pictures themselves or to the fact 
that this group, through the use of the pictures, had 



THREE STUDIES IN EDUCATIONAL FILMS 185 



more individual study, is not clear. In any case, the 
the method which involved the use of pictures appears 
to have been very effective. 

6. It does not appear that motion pictures are of 
outstanding and unparalleled value as means of awak- 
ening interest in a subject, or of stimulating activity, in 
comparison with advanced modern methods of instruc- 
tion. This statement is contrary to a view which is 
rather widespread among specialists in visual educa- 
tion. The experiment in health education at Joliet 
was undertaken especially to measure this kind of 
effect. The chief object of the experiment was not to 
determine whether the motion pictures increased the 
pupils' stock of information more than did the parallel 
methods. Its object was more particularly to de- 
termine whether or not they caused the pupils to put 
into practice more faithfully the rules of health which 
their information showed to be beneficial. The motion 
pictures were shown after the topics with which they 
dealt had already been taught, and took the place of 
oral reviews. The pupils who were given the oral re- 
views in place of the pictures, besides making higher 
scores in the information test, made a greater gain in 
weight. To offset this, the film group reported in their 
answers to the questionnaire that they followed in- 
structions somewhat more closely. The evidence is 
that the non-film group gained at least as much from 
their instruction as did the film group. 

Part of James's experiments also bears on this issue. 
He measured the stimulating effect of moving pictures 
by testing the pupils on certain specified follow-up 
reading. In the original test on the film and the oral 



186 MOTION PICTURES FOR INSTRUCTION 



lecture the film groups were very superior, showing 
that these particular films were much more effective 
than the particular oral lectures which were compared 
with them as means of giving information. In the 
follow-up reading on the same subject, however, only 
one of the film groups was superior to the oral group, 
while the other film group was slightly inferior. We 
may then supplement the foregoing statement as fol- 
lows. 

7. The peculiar value of the film lies not in its gen- 
erally stimulating effect, but in its ability to furnish 
a peculiar type of content of experience. This con- 
clusion is perhaps indirectly supported, again, by 
Hollis's comparison of the effectiveness of a film as an 
introduction to, and as a summary of, a small unit of 
instruction. The film proved more effective as an in- 
troduction than as a summary. Furthermore, it 
proved to be more effective as an introduction than was 
an oral introduction. The most probable explanation 
of these facts, in the light of our other data, is that the 
film, seen at the beginning, gave a background of ex- 
perience which illuminated the subsequent lesson. 

8. Each of the common forms of instruction which 
employ visual aids has some advantage, and there are 
circumstances under which each is the best form to use. 

The distinctive advantage of motion pictures has al- 
ready been discussed. 

Slides have the advantage of cheapness and conven- 
ience in comparison with motion pictures, and when 
used by a well prepared teacher are very effective. 

Maps can be more effectively presented in the form 
of slides or wall maps than in motion pictures. 



THREE STUDIES IN EDUCATIONAL FILMS 187 



Stereographs are particularly valuable when ex- 
tensive scenes or objects of somewhat intricate con- 
struction are to be examined. They gave slightly bet- 
ter results than slides in McClusky 's experiments in 
the field of geography instruction. They are more 
difficult to use with group discussion than are slides. 

The illustrated text is the most convenient and the 
easiest type of visual material to use and its effective- 
ness is not greatly inferior to the other types of ma- 
terial. It is particularly useful as a means of rapid 
and wide distribution of new subject matter, especially 
among schools which are taught by teachers of limited 
training. 

9. The usefulness of motion pictures would he en- 
hanced if they were so organized as to confine them- 
selves to their peculiar province. Their province 
seems to be the exhibition of moving objects, particu- 
larly to facilitate the analysis of motion. They are 
outside their province when they show still objects or 
when they enter the field of abstract verbal discussion. 
They cannot compete, in these respects, with still pic- 
tures and with the teacher. 

10. The superior effectiveness of the teacher as con- 
trasted ivith any merely material device was indicated 
repeatedly in the investigation. In spite of the un- 
doubted attractiveness of the motion picture in general, 
McClusky found the attention of a class under oral in- 
struction to be as high as that of a class which was 
shown a motion picture. Eeading with pictures was 
found to be inferior to oral lecture with pictures in 
McClusky 's Cleveland experiment. The superiority of 
demonstration is an evidence that the personal pres- 



188 MOTION PICTURES FOR INSTRUCTION 



ence and activity of the teacher is an effective agency. 
Finally, carefully prepared oral comment by the 
teacher accompanying a motion picture film, contrary 
to the almost universal opinion of visual education 
specialists, adds to its effectiveness. 

11. Music, accompanying a motion picture film, ap- 
pears to heighten the attention, but ivhether it in- 
creases the amount of information gained from it is 
not certain. This question demands further investiga- 
tion. 

12. There was a smaller percentage of loss on the 
memory tests in the case of the film groups than of the 
groups which ivere given other methods of presenta- 
tion, with one exception. The exception was the group 
which was shown the steamboat film, containing a large 
percentage of action. This group made a higher 
initial score than did the slide group with which it was 
compared. In all the other cases but one, the film 
groups, in which there was a smaller percentage of loss, 
made the lower initial scores. When the film group 
made a lower score than the group with which it was 
compared in the initial test, it also made a lower score 
on the final test, in spite of the fact that it suffered less 
loss. This was true in every individual comparison 
but one. 

A few concluding comments may be made concerning 
the prevailing character of the present educational 
motion picture films and the direction in which they 
should develop in order to be of most service to the 
school. The discussion deals with informational, not 
with dramatic films. 



THREE STUDIES IN EDUCATIONAL FILMS 189 



It is very evident from the varied proportions of 
educational motion picture films which are devoted to 
the representation of moving objects and to other 
types of material (still objects, charts, tables, verbal 
discussion) that their distinctive function has not been 
completely worked out. Many films attempt to do 
what can be done as well and more conveniently and 
economically in other ways. To these conclusions may 
be added several practical suggestions which are based 
upon the results of the investigation. 

13. Subject matter should not be included in edu- 
cational films ivhich is not primarily the representation 
of motion or action. Such subject matter can be pre- 
sented fully as well by the various forms of still pic- 
tures. 

14. It is uneconomical to put into motion pictures 
actions ivhich can be readily demonstrated by the 
teacher. In one educational film commensurate quan- 
tities are illustrated by showing the picture of a hand 
pouring water from a gill measure into a pint meas- 
ure. It would be far better for the teacher to perform 
this simple act before the class and explain its signifi- 
cance during the performance. 

15. Motion pictures should be so designed as to 
furnish to the teacher otherwise inaccessible raiv ma- 
terial of instruction, but should leave the organization 
of the complete teaching unit largely to the teacher. 
The explanation, discussion, or elaboration of the 
material which is shown in the film is a function of 
language. Language can be used fully as effectively if 
not more effectively by the teacher as by the film. 



190 MOTION PICTURES FOR INSTRUCTION 

Furthermore, the class should take a large share in the 
discussion. The reduction of the motion picture to its 
essential core will promote both economy and flexibil- 
ity. 

16. It is probably desirable to have motion picture 
films in small units. The long thousand-foot units 
either present too much material at once, include sub- 
ject matter not suitable for the motion picture, or they 
take over the rightful function of the teacher. If 
smaller units are available the teacher may choose just 
the picture which is needed to lay the foundation for or 
to illustrate a particular part of the discussion. 

17. Care should be taken to encourage initiative and 
an intellectually active attitude, and not to allow the 
use of motion pictures or other visual methods to over- 
develop the attitude of passive receptivity. The ob- 
jection is sometimes made to the use of motion pictures 
that they will make education too easy. This objection 
misses the real point. If the pupil actually gets the 
training we wish him to secure it is no objection that he 
gets it easily. The real objection is that he never 
really completes his mastery of a subject merely from 
having it presented to him. He should make it a work- 
ing part of his mental machinery. To provide for this 
we must encourage discussion, independent reading, 
problem and project work, and the like. 

It is the opinion of the authors of this investigation 
that educational motion pictures have a definite and 
important function in education. It has been the pur- 
pose of the investigation to contribute to the definition 
of that function and by this means to promote their 
usefulness. 



THREE STUDIES IN EDUCATIONAL FILMS 191 



HI 

THE CINEMA IN EDUCATION 

A report of the Psychological Investigation con- 
ducted by Special subcommittees appointed by the 
Cinema Commission of Enquiry, established by the 
National Council. 

Edited by Sir James Marchant, 159 pp. George 
Allen & Unwin, Ltd., London. 

The report is edited by Sir James Marchant, gen- 
eral secretary of the National Council. Part I, giving 
an account of experiments with educational films, is 
signed by Professor Charles Spearman, chairman of 
the subcommittee on psychological research, Professor 
Cyril Burt, secretary, and S. J. F. Philpott, M.C., 
B.Sc, investigator, and conductor of the experiments. 
Part II is a description of the various types of motion 
picture projectors suitable for school use. 

The report makes acknowledgment to the Carnegie 
Trust and National Council and to other sources for 
$5,000 and more, granted for the experiments. The 
experiments were conducted by Mr. Philpott in the 
psychological class room at University College, Lon- 
don. 

Two classes of boys, 23 in all, and five classes of 
girls, 75 in all, were used. The groups were stated to 
be " approximately equal in ability, " but no grades nor 
ages are given and no intelligence tests were used. It 
seems also that the committee was unaware of the ex- 
periments of "Weber and Freeman in the United 
States, as they speak of their own experiments as being 



192 MOTION PICTURES FOR INSTRUCTION 



"for the first time a scientific investigation into the 
psychological conditions and possibilities for using the 
cinematograph for educational purposes." 

The small number of children used in this experi- 
ment contrasts with those of Weber and Freeman, the 
former using 476 and the latter several thousand. 
The larger groups of both children and teachers in the 
American experiments give opportunity for the ac- 
cidental factors to check out, with a consequent greater 
validity to the conclusions. 

Aside from these drawbacks, the experiment was 
conducted with great thoroughness and the results an- 
alyzed from many angles. 

The tests were confined entirely to "essays" written 
by the children after they had seen the films. The 
more recently developed educational tests of the 
American experiments are absent here. 

The parallel series of lessons compared consisted of : 

(1) Film alone 

(2) Slides alone * 

(3) Film with comment 

(4) Slides with comment 

(5) Purely oral lesson 

The films used were given as follows : 



Table i 



Lesson No. 



Title 



Minutes. 



1. "The Stickleback" (Pathe Freres) 

2. "The Caddis" (Educational Films) 



4y 2 

6 



* Slides consisted of pictures and sub-titles copied directly from the 
film and were run at the rate of about 5 per minute. 



THREE STUDIES IN EDUCATIONAL FILMS 193 



3. "The Volcano" I. The whole film being divided for 
purpose of the experiments in two parts (Educational 



Films) 7 

4. "The Volcano" II 8 

5. "Solving Canada's Fuel Problem" (Jury's) 16 

6. "Salmon Fishing" (Jury's) 15 

7. "The Enemy of the Forest" (Jury's) 17 



The various film, slide and oral lessons were alter- 
nated among the groups until each group had received 
a lesson in the five different forms. 

In marking the essays which the children used as 
tests, the investigator compiled a Register of Facts, 
that is, separate statements of all the unitary facts 
mentioned in the essays. These statements of fact 
were classified into categories of (1) Action, (2) Liv- 
ing Things, (3) Inanimate Objects, (4) Locality. 

The essay material was again analyzed into (1) Ref- 
erences to the Pictures, and (2) References to the 
Sub-titles. Each of the sub-divisions was again sub- 
divided into (a) Direct Reports and (b) Interpreta- 
tions. 

With the exclusive reliance placed by the committee 
on childrens 7 essays as test material, the investigation 
became as much a study of the essay form as of films 
and slides. In fact, some thirty pages are designated 
as Rules for Essay Building. 

We are not told exactly on what the marks were 
based, but the tables and discussions show that the text 
essentially resolved itself into the acceptance of par- 
ticular and general modes of expression, as standing 
for verbal and pictorial representations respectively. 
The relative amount of particular statements seems to 
have been the principal basis of rating. 



194 MOTION PICTURES FOR INSTRUCTION 



The study of words and sentences in essays as ac- 
curate bases of report of film and slide lessons con- 
stitutes a valuable part of the report, probably the 
most valuable, from the standpoint of one familiar 
with the more elaborate American experiments in film 
pedagogy. 

Table VL, page 83, probably illustrates the type of 
work done, as effectively as any in the book. 



Table VI 

Showing the Analysis of Marks into those for Variable and Com- 
mon Elements respectively. (No note is taken of mode of ex- 
pression.) 

Common Elements Variable Elements 
Picture 

Sub- Material Sum of Total 
titles Other Common Marks 
than that Element "Action" "Inani- per 
under D Marks mate Objects" Essay 



Girls' Results 


A 


B 


Film alone 


18| 


261 


Slides alone 


22J 


24J 


Film talk 


321 


271 


Slides talk 


33J 


27J 


Oral 


43 


16 



Marks % Gain 

C D E 

441 55\ „ 99 

46/ 33/ 67% 79 

601 62 1 122 

60J 50J 110 

41 100 



Boys' Results (immediate memory) 



Film alone 531 15 1 681 32\ 100 
Slides alone 53J 13 J" 66J 19 J 85 

Boys' Results (delayed memory) 



Film alone 501 211 711 
Slides alone 48J 18J 66J 



281 

22J 



100 
87 



THREE STUDIES IN EDUCATIONAL FILMS 195 

The author, in part, summarizes the results as 
follows : 

(a) Mode of Expression — It has been shown that 
film essays are much more given to reports in particu- 
lar terms than are any of the other essays. 

(b) Common Elements—As a result of similarities 
between the lessons, essays tended to be full of com- 
mon elements. 

(c) Variable Elements — The more the film domi- 
nates the situation, the greater the tendency to de- 
scribe the pictures themselves, and that in Particular 
terms. 

As far as individual categories are concerned the 
most striking differences are found under the heading 
of Action. Gains to cinema essays here run into hun- 
dreds of per cent. Figures for both boys and girls 
confirm this result. 

The next most important category is that of Inani- 
mate Objects — machines, fishing-nets, etc. Film es- 
says gain here, probably because seeing things in 
motion explains their use, or, in any case, brings them 
into a prominence they would not otherwise enjoy. 

(d) Effect of a Commentary — Although attempts 
were made to keep the commentaries on a purely de- 
scriptive basis, the intervention of the teacher only 
resulted in the addition of general statements to the 
essays as far as the film alone and film talk were con- 
cerned. 

The author has one chapter on Rote Memory and 
Intelligence, in which he discusses a phase of reports 
of visual impressions which has not received much 



196 MOTION PICTURES FOR INSTRUCTION 

emphasis heretofore. The lack of words to express 
the ideas received from pictures and the suggestive- 
ness of oral lessons in the way of supplying words 
are factors that need to be taken into serious considera- 
tion when using verbal responses, especially in essay 
form, as test material for visual impressions. 

Says the author: 6 ' We get the difficulty of words 
as a vehicle of thought. There are 'awarenesses' 
and 1 words' or symbols of those awarenesses, and 
translation from one to the other is no easy process. 
Film children obtained a mass of awarenesses from 
their lessons, and they had to put them into words. 
The oral lesson children, on the other hand, were sup- 
plied with words which they had to understand for 
their own edification and to memorize for essay writing 
purposes/ 9 

"It is in this last respect that we meet with the 
problem in the essays. The fitting of words to an ex- 
perience is by no means the same thing as remember- 
ing someone else y s description of it, and the film es- 
says probably suffered considerably because of the 
child's inability to express himself." 

The psychological analysis of the relation of the 
words used by young children to a much larger quan- 
tity of ideas which they receive is quite penetrating, 
and an important by-product of the report. 



CHAPTER VIII 



A SCORE CARD FOR JUDGING VALUES OF INFORMA. 
TIONAL PICTURES 

I. Introductory Statement 

A considerable body of literature exists which has 
for its purpose the evaluation of pictures which are 
works of art. There are many books that describe 
the paintings of great artists, and such art criticism 
has developed various philosophical statements of the 
canons of art as applied to paintings. Students of art 
are given textbooks that guide them in the appreciation 
of works of art. No such study has been made of the 
purely informational picture, where the purpose of the 
picture is to convey information of a definite type 
rather than to appeal to the sense of beauty or other 
related emotion. 

Pictures are now used so largely to supplement text- 
books, manuals of instruction, magazine and news- 
paper articles, that we regard them as necessary ad- 
juncts to practically all forms of instruction permitting 
of an appeal to the eye. These pictures include press 
prints, photographic prints designed for direct obser- 
vation, or they may be lantern slides and moving pic- 
ture prints designed to act as material for projection 
upon a screen. The educational moving picture in- 
troduces the new element of motion with a consequent 
spurring of attention due to the speed at which the 
movement is shown. But should the picture be 

197 



198 MOTION PICTURES FOR INSTRUCTION 



"frozen" at any point into a "still," it subjects itself 
to the criteria used in this study of still pictures. 
Stereoscopic pictures require projection of a different 
type. Diagrams, sectional drawings, blue prints, etc., 
form a special kind of picture, in which the artist se- 
cures attention to certain features of an object or 
group by omitting certain aspects of the picture and 
emphasizing others. They are not representative pic- 
tures since they do not portray an exact representation 
of the object as it appears. 

This wide variety of pictures for instructional pur- 
poses has occupied the field of instruction so univer- 
sally, and yet so quietly, that they have been taken for 
granted since Comenius' time, and seemed to have 
received a relatively small amount of study from 
educators. 

The writings of pedagogs contain frequent refer- 
ences to the use of good pictures, and young teachers 
are urged to make use of good pictures at suitable 
points in instruction, but they are not told what good 
pictures are. If educators are shown a collection of 
informational pictures from which a selection for 
teaching purposes is to be made, they pick out as a 
rule pictures (1) that pertain to the subject in a gen- 
eral way, and (2) that are clearly printed. Very often 
another quality unconsciously dominates the selection, 
namely, (3) the artistic quality, sometimes to the detri- 
ment of the first two more important elements. These 
Mo not constitute analytic principles of selection. 

Of late, scales for the evaluation of children's draw- 
ings have received some serious study in America and 
a very good beginning has been made in reaching some 



A SCORE CARD FOR JUDGING PICTURES 199 

understanding of the values to be scored in this type 
of picture. 

In reviewing this literature, the conviction grew 
upon the writer that a similar study should be made of 
the much wider field of informational pictures used as 
aids in teaching children the various subjects of study, 
such as geography, botany, zoology and geology, though 
without the numerical weights attached to scale points. 

II. Construction of a Tentative Score Card 

It seemed logical to begin the inquiry by finding out 
the existing practice among representative educators 
who were making a large use of pictures from the in- 
formational point of view, for instructional purposes. 
Accordingly, the practice and views of the following 
educators were made the subject of inquiry: 

A. W. Abrams, director of visual instruction, New 

York State Department of Education. 
W. W. Atwood, President of Clark University. 
Formerly professor of geography, Clark Univer- 
sity, producer of a series of Motion Picture Films 
in Geography. 
Edith Parker, instructor in the teaching of geog- 
raphy, University of Chicago. 
C. H. Hanson, Visual Instruction Service, U. S. De- 
partment of Agriculture. 
Dudley Grant Hays, director of the department of 
visual instruction of the Chicago school system 
and formerly president of the National Academy 
of Visual Instruction. 
Dr. Gilberg Grosvenor, editor of the National Geo- 
graphic Magazine. 



200 MOTION PICTURES FOR INSTRUCTION 

TABLE I. 
Judging Informational Pictures 



COMPARATIVE SCORE CARDS 



A. W. Abrams 
(Terms bor- 
rowed from 
Literature ) 


Miss E. P. 
Parker 
(from Geog- 
raphy stand- 
point ) 


W. W. Atwood 

(from Geography 
standpoint) 


C. H. Hanson 

Visual Instruction 
Service, U. S. De- 
partment of Agri- 
culture 


Authenticity. 


Legibility. 


Authenticity. 


Correct representa- 
tion. 


Truth. 


Geographic 
quality. 


Truth. 

Characteristic 
or typical 
view. 


Typical view. 


Expressiveness. 
Quality. 


Geographic 
Impor- 
tance. 


Dramatic Interest. 

Life of people. 

Human contact. 

Festivities. 

Recreation. 

Industries. 
Quality. 


Quality. 
Sharp definition. 
Even gradation. 
Freedom 1 from 
blemishes. 


A"f f"VJi i von pofl 

a li vl ells lil V CllcBHS* 




Naturalness — no 
posing. 

Mental stimulus 
Thought-pro- 
voking. 
Problem-raising. 


vjtuull composition. 

Simple and ap- 
propriate back- 
ground. 

Correct distribu- 
tion of light 
and shade. 

Good arrange- 
ment. 

Unity 



A SCORE CARD FOR JUDGING PICTURES 201 

TABLE I.— Continued. 
Judging Informational Pictures 



COMPARATIVE SCORE CARDS 



Dudley Grant 
Hays 


National Geographic 
Society (Popular 
Geography ) 


Morton Bassett 
Mcintosh Ster- 
eopticon Co. 


J. P. Goode 
(Geography) 


Truth. 


Truth. 

Typical character. 


Truth. 


Truth. 


Expressiveness, 
Quality. 


Action. 
"Doing some usual 
thing in a fashion 
peculiar to him and 
to his land." 

Clear definition. 


Quality. 


Geographic 
importance. 

Quality. 


Attractiveness. 

Relevancy. 
Is the view 
significant for 
the topic? 


Beauty and charm in 
composition. 
"One that catches 
the eye and then 
delivers a message 
of world geogra- 
phy." 

Geographic Interest. 


Composition. 

Pedagogic 
value. 

Vividness. 

Impor- 
tance of 
the idea 
to be put 
over. 





202 MOTION PICTURES FOR INSTRUCTION 



Professor J. P. Goode, professor of geography, Uni- 
versity of Chicago. 

Morton Bassett, formerly head of the Mcintosh 
Stereopticon Co., Chicago. 

This list is of course far from being exhaustive, but 
it is at least representative of competent users and 
critics of informational pictures. Messrs. Hays, 
Goode, Bassett, and Miss Parker were interviewed per- 
sonally, while Mr. Abrams, President Atwood, and Mr. 
Hanson responded with full and helpful letters. The 
chief of school service of the National Geographic So- 
ciety sent Mr. Grosvenor's printed directions to his 
photographers and full descriptions of the society's 
work with pictures issued in sets for school use. 
Stripping these various accounts of their descriptive 
matter down to the bare points enumerated, the follow- 
ing lists of points were tabulated for purposes of com- 
parison. 

Table II combines the separate qualities mentioned 
in all the lists into one composite list of qualities, with- 
out the repetition of any quality. The points were 
grouped around five main ones. 

Table II 
Composite Score Card 

Total Points of Eight Authorities Consulted 

1. Authenticity. 

Eeliable Source. 

2. Truth. 

Faithfulness to the facts. 

3. Quality. 

Sharp definition. 



A SCORE CARD FOR JUDGING PICTURES 203 



Even gradation of light and shade. 
Freedom from blemishes. 

4. Attractiveness. 

Naturalness — freedom from posing. 

Good composition. 

Balance. 

Unity. 

Color harmony. 
Beanty — undefined. 

5. Pedagogic values. 

Expressiveness — legibility — vividness. 
Importance of topic illustrated — relevancy. 
Type Character. 

Stimulation of thought — raising and answering 

problems. 
Power to tell one story. 
Action — dramatic interest. 

In geography, where human contact with na- 
ture is concerned. 

Festivities, industries. 

By a slight change in the grouping and the use of the 
subsidiary points as defining and descriptive phrases 
it was possible to condense these points to six, which 
gave a more practical number to deal with under the 
conditions of the experiment. This condensed score 
card is shown in Table III. 

Table III 

Suggestive Score Card fob Judging Value of Informa- 
tional Pictures for Teaching Purposes 

1. Truth and Authenticity. 



204 MOTION PICTURES FOR INSTRUCTION 

Facts shown must be accurate, without distortion 
or illusion— and the source of the picture must be 
reliable, 

2. Relevancy. 

Importance of the picture for the topic illustrated. 

3. Concentration. 

Does picture direct attention to the significant 
facts, or are they obscured by unimportant 
details? 

4. Power to Provoke Thought. 

Does the picture raise — answer, questions? 

5. Technical Quality. 

Clear definition; good distribution of light and 
shade ; freedom from blemish. 

6. Artistic Quality. 

Unobtrusiveness. If strikingly artistic, picture 
diverts attention from specific informational 
value; if noticeably inartistic, same result follows. 

III. Testing the Score Card 

The score card having been reduced to workable 
proportions, the next problem was to put it to the test 
of use so as to develop its weaknesses and strength. 
These would come into relief only by practice in ap- 
plying the tentative score card to the judgment of in- 
formational pictures used in teaching. Through the 
cooperation of members of the faculty of the Univer- 
sity of Chicago, several classes consisting mostly of 
graduate students, experienced teachers and adminis- 
trators, were permitted to act as judges of a group of 
informational pictures, using the new score card as a 
guide. One class below graduate grade was included 



A SCORE CARD FOR JUDGING PICTURES 205 



in the list of judges to get the benefit of certain tech- 
nical knowledge appropriate to some of the pictures. 
This was Professor Bretz' freshman class in elemen- 
tary geology. Another technical group was Professor 
Lemon's class in photographic processes, which gave 
an unusual opportunity to get competent judgment on 
technical quality. 

The technical procedure and statistical data involved 
in the conduct of the experiment are out of place here, 
but the result can be briefly stated, as follows : 

1. The ranks assigned and the points on the tenta- 
tive score card were sustained by all the judges by 
percentages varying from 55% to 75. 

2. Criticisms of the score points by the judges sug- 
gested a reduction from 6 to 4 main points for ordinary 
use, when the question of time is a vital one. 

Condensed Score Card 

The Score Card which finally emerged from the test 
was as follows : 

1. Truth and Authenticity. 

Are the facts true, or well vouched for? 

2. Relevancy. 

Does the picture illustrate the particular topic 
under discussion? 

3. Concentration. 

Does picture direct attention to the significant 
facts, or are they obscured by unimportant 
details ? 

4. Technical Qaulity. 

Clear definition (focus) ; good distribution of 
light and shade, freedom from blemish. 



206 MOTION PICTURES FOR INSTRUCTION 



Problem 



Below is an interesting example of a score card for 
Films, devised recently by Dr. J. J. Weber of the Uni- 
versity of Texas. 

SCORE CARD FOR EVALUATING EDUCATIONAL FILMS 

General Standard: Does the moving picture, in a satisfying and 
economical manner, effect learning that is worthwhile? 

More in detail — Rating 

1. Does the picture effect specific learning? Produce ( ) 

useful changes in the observer's intelligence? Pic- Truth 
ture memories? Facts, ideas, concepts, inferences, 
generalizations, suggestions for improving skills, 
insights, ideals, and ambitions? This intellectual 
growth should consist mainly of concepts involving 
behavior, movement, or perceptible change — dynamic 
ideas, in brief. Does the picture embody the truth 
in all essentials? And, if fiction, is it free from 
objectionable error? 

2. Does the picture create a problem in the observer ? ( ) 

And does it solve it decisively? Conform to the 
principles of unity, coherence, and emphasis? 
Main problem — vital, gripping, interesting, whetting 
curiosity, stirring emotions, etc. Subordinate 
problems— complicating, relevant to and building 
up the main problem? Solution — satisfaction in 
the solution of the main problem? Effective word- 
picture balance? 

3. Does the picture appeal to socially approved native ( . 

interests? And utilize the laws of attention? Ele- 
ments involved: personification, human beings, ani- 
mals, young things; mysterious, novel, familiar, 
and sensational behavior; hero worship, struggle 
and success, etc. Things that attract attention 
readily; animation. However, little or no appeal 
to anti-social instincts. 

4. Is the picture good from a mechanical standpoint ? ( ) 

Photography of superior quality? Arrangements BEAUTY 
and selection of scene elements effective? Captions 
brief, clever, correct, unobtrusive, thought stim- 
ulating? Manifest approach toward artistic per- 
fection ? 

5. Any other standard?. 



FEELINGS 



A SCORE CARD FOR JUDGING PICTURES 207 



Bisections for Using the Score Card: Evaluate the picture for each 
standard in accordance with the following: 



Excellent E or 85 

Good G or 70 

Fair F or 50 

Poor P or 30 

Unsatisfactory U or 15 



Then average your separate judgments into single rating ( ) 

On the reverse of the Weber Score Card are spaces 
for recording film title, number of reels, condition 
of reel, producer, distributor, synopsis — and the 
questions: Film related to what school subjects? 
Adapted to what pupil age? Previous review? By 
whom? Where? Eating? Date and name of re- 
viewer. 



CHAPTER IX 



STATE AND CITY CENTERS OF DISTRIBUTION OF 
EDUCATIONAL FILMS 

The most recent published study of the film situation 
in city school systems and state universities is con- 
tained in the author's bulletin, No. 8, published in 
1924 by the U. S. Bureau of Education. The tables are 
too long and detailed for reproduction here, but the 
summaries of the findings may be useful to school 
officers contemplating visual education departments. 

The bulletin is divided into two parts ; Part I deals 
with the professional status of visual education officers 
in (a) state institutions, and (b) in city school systems. 
Twenty state departments of visual education, mostly 
in state universities, were found to have had the work 
sufficiently well organized, with special directors of 
visual education, budgets, etc., to warrant inclusion in 
the study, and a presentation and analysis of the data 
connected with their distribution of visual aids. These 
twenty were : 



University of Arkansas 
University of Colorado 
Indiana University 
University of Oklahoma 
Kansas State Normal School 



University of California 
University of Florida 
Iowa State College 
University of Oregon 
Massachusetts State Department 
of Education 



CENTERS OF DISTRIBUTION OF FILMS 209 



Philadelphia Commercial Mu- Texas Agricultural and Mechan- 

seum ical College 

University of Texas University of Utah 

University of Wisconsin 

Mississippi Agricultural and Me- University of Minnesota 
chanical College University of Missouri 

North Dakota Agricultural Col- University of New York 
lege 

Visual education departments are located usually in 
the extension departments of the universities, though 
they are occasionally found elsewhere, depending on 
the position of the individual who started the work. 
The directors were found to be well qualified, with the 
master's degree as the average qualification and an 
average salary of $2,500. Fifteen of these university 
departments offered credit courses in visual instruc- 
tion to university students. Four of them reported 
supervising the production of films on their own 
campuses. 

Fourteen cities considered in Part I were found to 
qualify for the purposes of the study. These were : 

Atlanta, Ga. Kansas City, Mo. 

Berkeley, Calif. Los Angeles, Calif. 

Buffalo, N. Y. Newark, N. J. 

Chicago, 111. New York, N. Y. 

Cleveland, Ohio. Pittsburgh, Pa. 

Detroit, Mich. San Francisco, Calif. 

Indianapolis, Ind. St. Louis, Mo. 



Their budgets and salaries were found to be much 
larger than in the universities, and the visual aids dis- 
tributed richer in variety and content. Museum ex- 
hibits were chiefly responsible for this. 



210 MOTION PICTURES FOR INSTRUCTION 



New York has the outstanding department with a 
total budget of $31,600. Chicago is next, with $25,500 ; 
Los Angeles is the third, with $23,700, less salary, 
which is not reported; and San Francisco is fourth, 
with $23,000. Detroit is a close fifth, with $22,000. 
New York's contractual system is unique among the 
cities. One firm is given the contract for assembling 
the films from the different exchanges, distributing 
them to the schools on schedule, and furnishing opera- 
tors when needed. The director thus relieves himself 
at one stroke of a complicated job. He reports that 
the system has worked admirably so far. 

Of greater interest to film users is Part II, which 
deals with the evaluation and distribution of visual 
aids in state and city institutions. The twenty state 
universities have large and important lists of films for 
state-wide distribution to the schools, churches and 
clubs of the state. They are purchasing films in in- 
creasing numbers for this purpose, but nearly all of 
them are film depositories both for free films and rental 
films. The free films are largely from government 
sources and the larger manufacturers of the country 
and, barring transportation charges, are sent out free 
or for a small handling fee. The rental rates for films 
deposited by commercial exchanges are fixed by them, 
and the university is given a commission on rentals. 
The chief sources mentioned were: 

George Kleine, New York City. 

U. S. Government, Washington, D. C. 

Ford Motor Co., Detroit, Mich. 

Bureau Commercial Economics, Washington, D. C. 



CENTERS OF DISTRIBUTION OF FILMS 211 

Commercial exchanges in general, like Pathe Ex- 
change, Inc., etc. 
The films reported by the university departments as 
being of hightest educational values were : 



Institutions 



1. Julius Caesar * 6 

2. Milk Nature's Perfect 

Food 2 

3. Priceless Gift of Health 2 

4. Revelations 2 

5. Silas Marner 2 

6. Animal Studies and 

Magnetism 1 

7. Auto Starting and 

Lighting 1 

8. A Woolen Yarn 1 

9. Back of the Button 1 

10. The Benefactor 1 

11. Come Clean 1 

12. Deliverance 1 

13. Diary of a Murderer 1 

14. Embryology of the Egg 1 

15. Exit Ascaris 1 



Institutions 



16. Four Seasons 1 

17. History of Telephone 1 

18. Making Telephone His- 

tory 1 

19. Making the Desert 

Blossom 1 

20. Mechanics of Solids 

and Liquids 1 

21. Milk as Food 1 

22. The Milky Way 1 

23. The Orange Judd Films 1 

24. Out of the Shadows 1 

25. Pompeii 1 

26. Romance of Glass 1 

27. Selecting a Laying Hen 1 

28. Story of a Mountain 

Glacier 1 

29. Story of a Stick 1 



The distribution proceeds both by the individual call 
system and by the circuit system, with the call system 
preferred. 

Very little correlation of films with courses of study 
was reported ; most of the films distributed were of the 
general-educational, or entertainment-educational vari- 
ety. The strictly instructional, text or classroom film 
had not yet become a regular feature of the schools. 

* Exchanges where these films may be secured are listed in Part II. 



212 MOTION PICTURES FOR INSTRUCTION 

With regard to the proportion of expenditures 
among films, slides, stereographs, and exhibits, Los 
Angeles led the cities, with an expenditure of $9,193 for 
film rentals and $15,000 for film production. New 
York is next, with an expenditure of $10,000 for film 
rentals. Detroit spends $6,000 and Newark $4,600. 
In the large cities where commercial exchanges abound, 
the film budget is spent for rentals, while in the uni- 
versities, as we have seen, it is spent in film purchases. 

Of thirteen cities reporting on the point, nine give 
courses in visual instruction. In seven it is a formal 
matter, and in two informal or individual. The for- 
mal courses are from six weeks to one year in length. 
This development of new courses has taken place to 
about the same degree in the state institutions. It 
indicates that visual instruction has entered educa- 
tional circles at a high level of scholarship and tech- 
nical development. 

Newark, Atlanta, Detroit, New York, San Francisco, 
and St. Louis all report important modifications of 
state regulations which permit the use of portables 
in the schools; and those visual instruction centers 
having trouble in this regard would do well to write 
the visual instruction heads of these cities. As pointed 
out under this head in discussing state institution de- 
partments this whole matter of trouble due to state 
regulations is liable to disappear in the very near- 
future owing to the growing practice of non-theatrical 
distributing agencies handling only non-inflammable 
film. 

Of the fourteen cities, eleven reported on their chief 
sources of film. In contrast to the institutions, nine 



Scene from ''Yellowstone National Park' : 
p. 45 



CENTERS OF DISTRIBUTION OF FILMS 213 

of the eleven mention local exchanges as chief sources. 
Only three mention state universities, and only one the 
United States Government. Six out of ten have pro- 
duced film, a growing practice in both cities and state 
institutions. 

Blue-Bibbon List of Films For Cities 

In response to the question asking for films of high- 
est educational value, the following were mentioned: 



Toads, and Making of a Moun- 
tain Glacier,* produced by the 
Society of Visual Education. 

Iron and Steel, Milk as Food, 
and Luther Burbank, produced 
by Ford. 

Revelations, and The Lumber In- 
dustry, produced by General 
Electric. 

How Life Begins. 

Nanook of the North. 

Hats Off. 

Life of Lincoln. 

Making of a Citizen. 

My Own United States. 

The Priceless Gift of Health. 



The Romance of the Hardwoods. 
Bre'r Rabbit. 

Apple Blossom Time in Nor- 
mandy. 

Yellowstone National Park. 
The Sugar Trail. 
The Human Voice. 
From Tree to Tribune. 
Beyond the Microscope. 
Park's Physical Geography. 
Circulation of the Blood. 
The Coal Industry. 
Mexico and Oil. 
The Land of Opportunity. 
The Four Seasons. 



If this list is compared with a similar list from the 
state institutions, it will appear that seven of them are 
mentioned by both groups. Considering that the cities 
deal so largely with local exchanges, it is interesting 
to note that they include theatrical films in their lists 
as seldom as do the state institutions. The George 

* Exchanges from which these films may he secured are listed in 
Part II. 



214 MOTION PICTURES FOR INSTRUCTION 



Kleine films, so prominent in the institutional list, do 
not appear at all in the city lists. This was obviously 
a matter of lack of opportunity or attention, as Mr. 
Kleine preferred to distribute his films through the 
university centers. Thus many of those mentioned in 
both lists reflect the accidents of opportunity more 
than they do deliberate choice from the whole field. 
Fully a third of the films in the institutional list show 
their service to agricultural communities, while the 
city list mentions only one film of agricultural appeal. 

The circuit system of distribution is in even less 
favor with the cities than with the institutions, and all 
cities report correlation of visual aids with courses 
of study. The favorite subjects for correlation seem 
to be geography and nature study, though half of the 
cities report some correlations in all subjects. 

The recent rapid growth in the educational film sit- 
uation is well illustrated by the lists of films just 
quoted. Only two years have passed since these lists 
were printed, and yet so many superior educational 
films have appeared since then, that only a small 
number of these "blue ribbon films" were selected 
for the three film libraries assembled in this book. Of 
the twenty-nine in the university list, five were selected 
for the libraries; and of the twenty-eight in the city 
list, eleven appear in the libraries of Chapter II. 

Additional Universities, etc., Maintaining a Distribution 

of Visual Aids 

In addition to the state institutions and cities men- 
tioned in the bulletin just reviewed as maintaining 



CENTERS OF DISTRIBUTION OF FILMS 215 



an organized form of distribution of visual aids, the 
following are listed in A Visual Education Directory 
by J. V. Ankeney, secretary of the National Academy 
of Visual Instruction: 

Bureau of Visual Instruction, 
University of Alabama, 
Tuscaloosa, Ala. 

Alabama Polytechnical Institution, 
Auburn, Ala. 

Extension Department, 
University of Arizona, 
Tucson, Ariz. 

Extension Department, 

State College of Agriculture, 
Athens, Ga. 

Extension Department, 
University of Kansas, 
Lawrence, Kan. 

Film Service, Extension Department, 
State Agricultural College, 
Manhattan, Kan. 

Extension Department, 
State Normal School, 
Nachitoches, La. 

Extension Department, 
University 7 of Michigan, 
Ann Arbor, Michigan. 

Department of Agricultural Education, 
University of Missouri, 
Columbia, Mo. 



216 MOTION PICTURES FOR INSTRUCTION 



Director Public Service, 
University of Montana, 
Missoula, Mont. 

Extension Department, 
University of Nevada, 
Reno, Nev. 

Director of Conservation, 
University of Nebraska, 
Lincoln, Neb. 

Department of Visual Instruction, 
State Museum, 
Trenton, N. J. 

Director Community Service, 

State Department of Education, 
Raleigh, N. C. 

Department Agricultural Education, 
North Carolina State College, 
Raleigh, N. C. 

Extension Department, 
Ohio State University, 
Columbus, 0. 

Extension Department, 
State College, 
Kingston, R. I. 

Extension Department, 
University of Tennessee, 
Knoxville, Tenn. 

Extension Department, 
Washington State College, 
Pullman, Washington. 



CENTERS OF DISTRIBUTION OP FILMS 217 



Extension Department, 
University of Wyoming, 
Laramie, Wyoming. 

Additional Cities Maintaining a Distribution of 



Visual Aids : * 




Akron, 0. 


Rockford, 111. 


Burlington, Vt. 


Sacramento, Calif. 


Canton, 0. 


Saginaw, Mich. 


Cheyenne, Wyo. 


San Diego, Calif. 


Dallas, Tex. 


Sioux City, Iowa. 


Dayton, 0. 


Somerville, Mass. 


Fort Wayne, Ind. 


Spokane, Wash. 


Jersey City, N. J. 


Springfield, Mass. 


Manchester, N. H. 


Springfield, Ohio. 


Meriden, Conn. 


St. Paul, Minn. 


Moline, 111. 


Syracuse, N. Y. 


Muskogee, Okla. 


Terre Haute, Ind. 


Newport News, Va. 


Trenton, N. J. 


Norfolk, Va. 


Utica, N. Y. 


Omaha, Neb. 


Washington, D. C. 


Paterson, N. J. 


West Allis, Wis. 


Portland, Ore. 


Wilmington, N. C. 


Providence, R. I. 


Winston- Salem, N. C. 



The Visual Education Directory cited above lists 
museums distributing visual aid : 

BUFFALO — 

Carlos Cummings, 
Buffalo Society of Natural Sciences, 
Buffalo, N. Y. 

CHICAGO— 
D. C. Davies, Director, 
Field Museum, 
Chicago, 111. 

* Listed for the most part by F. Dean MeClusky in the National 
Educational Association's committee report, 1924. 



218 MOTION PICTURES FOR INSTRUCTION 



CLEVELAND — 
William M. Gregory, Director, 
Educational Museum, 
School of Education, 
Cleveland, 0. 

GRAND RAPIDS— 

H. L. Ward, Scientific Museum, 
Grand Rapids, Michigan. 

MILWAUKEE— 

S. A. Barrett, Curator, 
Milwaukee Museum, 
Milwaukee, Wis. 

NEW YORK— 

Grace E. Fisher, Slide Librarian, 
American Museum Natural History, 
New York City, N. Y. 

PHILADELPHIA— 

Charles R. Toothaker, Curator, 
Commercial Museum, 
Philadelphia, Pa. 

ST. LOUIS— 

C. G. Rathman, Asst. Supt. of Schools, 
Educational Museum, 
St. Louis, Mo. 
Miss Amelia Meisner, Curator, 
Educational Museum, 
St. Louis, Mo. 



These educational institutions and cities have pur- 
chased many of the films listed in this book for dis- 
tribution to the schools, churches, etc., of their par- 
ticular state or vicinity. Many of them are free or 



THE FUTURE OF EDUCATIONAL FILMS 219 



nearly so, within the particular state or city, and for 
some a reasonable rental is charged, Many Ford and 
Burton Holmes reels will be found in the collections of 
the universities. The United States Government, 
theatrical and non-theatrical exchanges, and many wel- 
fare agencies have deposited groups of films with the 
state universities or other state departments at fixed 
rental rates, but at a saving in transportation charges 
and in time of delivery to patrons. 

George Kleine, the United States Department of 
Agriculture and Bureau of Mines, the Canadian Mo- 
tion Picture Bureau, the General Electric Co., and the 
International Harvester Company and many others, 
have their films on such a deposit arrangement at the 
universities, and in the larger city school systems men- 
tioned previously in this chapter. If your city schools 
do not maintain a distribution of visual aids, write 
your state university, agricultural college, state normal 
school, or state department of education before writ- 
ing the exchanges or firms themselves. Then if you 
cannot secure service, write the firms whose addresses 
are given after the films. 



CHAPTER X 



THE FUTURE OF EDUCATIONAL FILMS 

Film Presents New Problem to Schools 

The film presents an inherently new product to the 
schools. There are no precedents to follow in dealing 
with it. Educators do not produce their own appara- 
tus, blackboards, lanterns, scientific instruments, not 
even textbooks. Educators furnish the ideas, but 
rely upon the industrial firms to work them up and 
market them. However, in the film situation a pecu- 
liar condition exists. The big producers, who alone 
have the technical equipment and capital necessary 
for quality film production have shown no inclina- 
tion to produce purely educational films. They have 
not been convinced that the school market could ab- 
sorb the product in sufficient volume to warrant the 
deflection of their time and resources from the more 
lucrative theater field. Moreover, the theater man- 
agers have a latent fear that the schools and churches 
will encroach on their territory. The producers have 
no wish to offend the theater managers, their best cus- 
tomers, and so they are not interested in the school 
field. 

But schoolmen and churchmen everywhere have 

sensed the educational value of the movies, and as they 

see the remarkable effects of moving pictures on the 

220 



Charter Members Xatioxal Academy of Visual Instruction, at 

University of Wisconsin, July. 1920 
W. H. Dudley, the organizer, is at the center in the front row. Many 
prominent leaders in the Visual Education Movement, may be found in 

this group. 




W. H. Dudley, Chief cf Bureau of Visual Instruction, University 

of Wisconsin 

Air. Dudley established the first visual instruction center in an American 
University, and organized The National Academy of Visual Instruction 

—p. 221 



THE FUTURE OF EDUCATIONAL FILMS 221 



theater screen, the reflection is inevitable that this new 
and powerful method of impressing the mind should be 
available to the schoolroom as well. And they have 
made various attempts to get the movie into the school- 
room. The National Academy of Visual Instruction 
is a noteworthy effort to get together like-minded edu- 
cators to study the educational aspects of the moving 
picture. The Visual Instruction Association of Amer- 
ica is another illustration, and the newly organized vis- 
ual education section of the National Educational As- 
sociation is the most recent phase of this widespread 
educational interest. 

Various universities and city school systems have 
organized centers for distributing films to schools on 
both a free and rental basis. Several departments 
of the United States Government have produced edu- 
cational films which are available to educational insti- 
tutions. Five educational film magazines have been 
started; these have successively been merged, until 
now only one, the Educational Screen, Chicago, repre- 
sents the interests of the Educational film field. We 
are told that statistics of portable motion picture pro- 
jector manufacturers reveal that approximately 30,000 
motion picture projectors have been sold to schools, 
churches and business firms. The DeVry Corporation 
for whom I have edited educational films has sold over 
12,000 portable motion picture projectors. Every in- 
vestigation made of these users, however, indicates the 
school showings started with entertainment films in the 
assembly room, and most of them remain at that stage 
today. The reason is the obvious one of the availabil- 
ity of the film supply. These entertainment showings 



222 MOTION PICTURES FOR INSTRUCTION 



are mostly the partly worn-out prints of the theaters, 
frequently obtained in irregular fashion by film 
brokers and doled out to schools at whatever rental 
rates they could be prevailed upon to pay. 

Film showing in schools cannot compete with the 
theaters in general entertainment values; for enter- 
tainment is the peculiar field of the theater and it has 
mastered that field with a wealth of effects impossible 
to amateurs. Films for instruction, however, come 
within the peculiar field of the schools and they should 
combine with professionally trained producers to bring 
the educational film to its highest technical and peda- 
gogical possibilities. 

The Risks of Educational Film Production 

The attempts made by educators or those interested 
in the educational film to produce classroom films for 
serious study purposes have practically all ended in 
financial loss, or at best in profits too modest to bear 
any comparison with theatrical producers. One has 
only to recite the list of the brave adventurers in the 
educational production field, to realize the truth of the 
above statement : 

American Motion Pictures Corporation. 

Beseler Educational Film Co. 

Bray Productions, Inc. 

Community Motion Pictures. 

J. E. Holley. 

Lincoln & Parker Film Corporation. 
National Non-theatrical Motion Pictures, Inc. 
George E. Stone. 
Charles Urban (Kineto). 



THE FUTURE OF EDUCATIONAL FILMS 223 



Some of the firms named above have "passed," and 
those that remain are holding on either because of 
great faith and unusual courage and resource, or be- 
cause they have shifted the bulk of this production 
from educational to other types. The most striking 
example of such a shift is that of the Educational Pic- 
tures Corporation, its name being now an unfortunate 
misnomer, and only the afterglow of its former educa- 
tional activities. Its chief releases now are comedies 
and other short-subject theatricals. The Yale Univer- 
sity Press, in order to undertake the production of 
their historical photoplays, had to make them accept- 
able to theaters in order to get returns on the large 
investment involved. Tolhurst and Ditmar have 
secured theatrical connections to make possible 
their unusual scientific films; Herm is putting up a 
valiant fight for independent production; Wythe has 
survived by taking his pictures bodily to the school- 
rooms. 

On the other hand, evidence is increasing that the 
big producers are going to find it profitable to produce 
classroom films. Sporadic attempts looking for quick 
profits and initiated by men in the organization un- 
familiar with educational contacts and with educational 
departments headed by theatrical film men unable to 
talk the language of the schools, were doomed to 
failure. 

But that such failures were unnecessary is shown by 
the success of the educational department of Pathe Ex- 
change, Inc. Here ample capital and wide intelligence 
is provided for educational supervision and educa- 
tional editors acceptable to educators. Pathe engaged 



224 MOTION PICTURES FOR INSTRUCTION 

competent school men and women to edit not only the 
classroom films they produced, but a series of teachers' 
leaflets as well which are models of practical pedagogi- 
cal treatment, and have had a very wide use in the 
schools. Many of the Pathe Educationals are placed 
in the Film Libraries Outlined in Chapter II, and a 
sample Teacher's Leaflet is given in Chapter V. Most 
of the Nature study films used by the Neighborhood 
Motion Picture Service (p. 241) are the Pathe Screen 
Studies. 

The new series of the Ford Educational Film Li- 
brary, while not made by a theatrical producer, is nev- 
ertheless an example of experienced direction and 
ample capital applied to true educational motion pic- 
tures. These have editors similar to those of the 
Pathe Screen Studies, and issue teachers' leaflets of 
a high degree of excellence to accompany each film. 
The Ford management has wisely decided to sell their 
prints directly to schools on non-inflammable stock, 
practically at cost, thus encouraging the movement 
for permanent film libraries to be owned by the schools 
themselves. Pathe has a long-time lease arrangement 
which amounts to much the same thing. The exten- 
sive Ford list is given under Purchase Films in Part II. 

Free Films Drove Out Rental and Purchase Films 

Free films of a semi-educational nature issued by 
industrial concerns and welfare organizations, while 
apparently a godsend to schools and churches at the 
beginning, operated in the end to discourage the pro- 



THE FUTURE OP EDUCATIONAL FILMS 225 



ducers of classroom films. Although these free films 
were not designed primarily for the classroom, they 
were nevertheless used for instructional purposes and 
drove out the rental films. Institutions that had 
formed the free habit refused to pay living prices for 
rental films. When they did rent, they usually rented 
old prints at cut rates from small dealers who made a 
business of buying up vagrant prints of this character. 
The result was to discredit the educational value of the 
movie for the users and wreck those enterprising in- 
dividuals who had risked their incomes on educational 
film production. 

The free film producers and distributors were not to 
blame. They invested fortunes to secure films worthy 
of showing in schools, and they frequently produced 
the most valuable educational reels. The mischief was 
due to a lack of discrimination among educational 
users. Semi-educational propaganda films had a legit- 
imate place and use, but they were not designed to dis- 
place the true educationals made by educators for ed- 
ucators as specific adjuncts to the course of study in 
the classroom recitation. 

Much of the early teaching with motion pictures was 
done with these quasi-educational films ; and even seri- 
ous pedagogical experiments * were performed with 
these dual purpose films. This labor was by no means 
lost. The accumulated experience of educators in 

* "See films used in the Freeman Experiments, Freeman's "Visual 
Education" (Bibliography) ; also an article, "A Psychological Analysis 
of Moving Pictures as Means of Instruction," by Carter, which is 
based entirely on films produced by the publicity department of a 
well-known commercial firm. 



226 MOTION PICTURES FOR INSTRUCTION 



using such films to illustrate the curriculum constitutes 
an interesting body of data for consultation by future 
investigators. 

The Rental Film an Anomaly in Schools 

There is a question if expensive films, for which a 
legitimate rental must be charged, will ever be the 
basis of classroom film showings. Schools are not 
given to renting apparatus. School apparatus should 
be constantly available for illustrative purposes. The 
electric machine cannot be viewed once by a class and 
then pass out of the school forever. Such fleeting 
glimpses would have but small educational value. 
Films, too, must be purchased. The school film will 
ultimately have to be purchased outright by the schools 
and kept for repeated use to get real educational re- 
sults. 

School boards must be educated to appropriate ade- 
quate funds for purchasing films, as they do for buying 
maps, globes, books and typewriters. When a major 
fraction of the 200,000 schools of the country adopt this 
policy, competent producers will be willing to risk the 
capital necessary for the production of pedagogical 
films, or to release for sale prints from existing 
negatives. 

A form of rental very useful for smaller cities is 
the nominal rental charged by state universities and 
state departments for films which they have collected 
for the use of schools in the state. Extensive libraries 
of this sort are in active circulation at the state univer- 
sities of Wisconsin, California, Indiana, Minnesota 



THE FUTURE OF EDUCATIONAL FILMS 227 



and several other states. In Massachusetts, New York 
and North Carolina, distribution is through state de- 
partments at the seat of government. In many large 
cities, museums and libraries have a similar service. 
A list is given in Chapter IX* 

Only non-inflammable prints should ever be pur- 
chased by schools, as otherwise storage of films in 
buildings raises insurance rates because of the fire 
hazard. 

A list of firms having educational prints for sale is 
given under Purchase Films in Part II, and the DeVry 
Negative Library and the Bray Educational Library 
from which non-inflammable prints may be ordered in 
short lengths, have already been mentioned. 

The Production of Educational Films 

A film producer recently assured the writer that a 
very modest cost for a five reel production is $50,000.00. 
Five thousand dollars a reel is below the ordinary the- 
atrical production rate. The classroom film will cost 
but a fraction of this amount, as only rarely will paid 
actors be needed or expensive scenic sets. But there 
will be considerable expense nevertheless. For scien- 
tific films expert camera men should be employed with 
special lenses for microscopic work. Experienced art- 
ists are needed, for animated and phantom drawings. 
The greatest scientists and teachers of the country 
should plan the films and should be well paid for it, al- 

* An exception, in favor of rentals, should also be noted in the case 
of a well-organized system of rental films like that of the Neighbor- 
hood Motion Picture Service, described at the end of this chapter. 



228 MOTION PICTURES FOR INSTRUCTION 



though satisfactory work could be done in the school 
laboratory. Studio lights and reflectors will be needed 
for interior photography. Nature, geographical, geo- 
logical and other outdoor studies will likewise need the 
trained educator plus the expert camera man and the 
advice of experienced directors. 

It may well be that the modern university will de- 
velop the technical camera expert and essential studio 
equipment, as at the University of Nebraska, or as 
has the Department of Moving Pictures of the United 
States Department of Agriculture at Washington, 
D. C. Views, however, of campus activities or of only 
casual educational significance can be taken by ama- 
teurs with the school movie camera. Low-priced 
movie cameras adapted for both professional and ama- 
teur use are now on the market. The best, strictly pro- 
fessional movie camera costs $5,000.00, but $150.00 
will purchase a movie camera that will do the type of 
work here referred to. Only cameras taking full width 
Standard films (35 mm.) should be used. 

Schools Should Combine and Use the Big Producers 

Historical plays like the Yale Chronicles and plays 
illustrative of standard literature should probably be 
given over to big producers, with faculty guidance on 
historical, dramatic, literary and ethical values. 

The path of least resistance to follow just now would 
be for schools desiring fine technical work on purely 
educational films to pool their resources and offer the 
technical producer a volume market which would jus- 
tify his capital investment. State teachers' associa- 



THE FUTURE OF EDUCATIONAL FILMS 



229 



tions, state parent-teachers' associations, city associa- 
tions of teachers, principals, regional associations like 
the North Central Association, could appoint commit- 
tees to work out the courses desired, and cooperate 
throughout the production with the movie studio. The 
various subject-matter groups or sections of the Na- 
tional Educational Association might undertake the 
task. The undertaking would cost too much for any 
one school to attempt, but in numbers there is pur- 
chasing power. 

An organizing genius with the educator's point of 
view who could get the numerous small non-theatrical 
exchanges which deal in old prints to combine their re- 
sources, junk their old prints and initiate educational 
production on a scale commensurate with the im- 
portance and dignity of the work would do a wonder- 
ful service to the cause of visual education. 

George E. Stone, who has put visual education for- 
ever in his debt by the scholarly films he has produced 
in biology, has written an earnest plea * for the en- 
dowed educational film. Foundations like the Rocke- 
feller, Carnegie and Commonwealth are needed to 
supply the means for the elaborate equipment and high 
salaried men required to give the bona fide educational 
film its place in the sun. And Nelson L. Greene, editor 
of the Educational Screen, thus calls the attention of 
the theatrical magnates to the possibilities of produc- 
tion and distribution in the non-theatrical field : 

The theatrical film market can be definitely measured. In round 
numbers we can call it 20,000 projectors, for only one projector 

* George E. Stone, "Visual Education — a Retrospect, an Analysis and 
a Solution/' Educational Screen, December, 1925. 



230 MOTION PICTURES FOR INSTRUCTION 



runs at a time in the 20,000 theatres. Averaging all of them, run- 
ning time is but a very few hours per day. Rentals are high, but 
sales expense eats up an enormous fraction of receipts. And these 
20,000 projectors are 100% of the possible theatrical field. 

The non-theatrical film market has not reached 1% of its possibil- 
ities. It has perhaps 15,000 projectors. But one third of them is 
unused; another third used occasionally; the other third may be 
running to half their capacity. The average run is but a few hours 
per week. Add to this that film-rentals are ridiculously low. 
Naturally such a field is practically ignored by all but a very few 
theatrical producers. And yet a mere 20,000 schools — with pro- 
jectors usable from 9 a. m. through the day and evening for school 
and community purposes, several projectors even running at the 
same time in different rooms — would equal or exceed the total 
theatrical run, if the schools could get the film. And "20,000 
schools" are about one fortieth (Mo) of the non-theatrical field. 

What will "100% of the non-theatrical field" mean ? There are in 
the United States (naming always round numbers far below the 
actual figures), 200,000 schools, 200,000 churches, 200,000 clubs, 
lodges and community centers, besides another 200,000 projector 
prospects in colleges, normal schools, universities, hospitals, prisons, 
welfare institutions, hotels, railroad stations, public parks and play- 
grounds, on trains, steamships, airships . . . not to mention Amer- 
ican homes. Here are 800,000 potential projectors, or 40 times the 
number of theatres. Further, this vast field as a whole is already 
inclined to install projectors, they do not need to be "sold." Why, 
then, have the 800,000 bought only 15,000 projectors to date? For 
two reasons, one unimportant, the other all-important. 

First, the cost of the projector. This is a minor matter. Even 
small schools and churches manage it. The pitiful part of it is that 
thousands of these hard-won projectors have had to go into cellars 
and closets to gather dust. The rest of the field knows this, and hence 
refrains from buying. 

Second, the lack of films — and this is the crux of it all. The 
non-theatrical field has lived from the beginning on miserable stuff, 
the crusts and the crumbs. It is tired of the crude relics of early 
productions, tired of worn-out prints from negatives long since 
out of circulation, tired of the nondescript film efforts of well- 



THE FUTURE OF EDUCATIONAL FILMS 231 



intentioned pedagogues and earnest amateurs. Improvement of 
theatrical pictures has created taste and appetite for films of quality, 
and the non- theatrical field wants that quality. It cannot get it yet. 
It is waiting only until it can. And where will this film come from? 
It can come only from those who have the knowledge, skill and re- 
sources for making quality films, namely, the theatrical producers. 

The vast non-theatrical market is there, eager and ready to start. 
It is 40 times the size of the theatrical market when it gets the pro- 
jectors. It will get the projectors itself the moment it knows that 
serious production has started — and the projectors will go in faster 
than the films can be produced. Rentals will be higher than now — 
for the films will be worth it — but always lower than for the theatres. 
There is ample compensation for this lower rental — the size of the 
field, its willingness to wait until the film has earned its maximum 
profit in the theatres, no more need for costly advertising, and longer 
circulation life because non-theatrical value is a matter of content, 
not of date. The theatres will always have the new releases, the non- 
theatrical field will always take them second-hand — demanding only 
that the pictures are good (which means, incidentally, that the 
conflicting interests of the theatrical exhibitors and the non-theatrical 
field are largely imaginary). 

The Eockefeller Foundation lias, in a small way, 
helped to make possible certain welfare propaganda 
films that are being distributed by health organiza- 
tions. The Commonwealth Fund granted the sum of 
$10,000.00 for pedagogical research with moving 
pictures, which instituted the series of experiments 
reported in Freeman's Visual Education. The most 
valuable aid private wealth can furnish pioneer enter- 
prises is to carry them well through the demonstration 
stage and leave the public to continue the good work. 
Carnegie has done that with libraries, the Carnegie 
Foundation, with teachers' pensions, and the Eocke- 
feller Foundation has assisted numerous investigations 
to work through the demonstration stage. Such a 



232 MOTION PICTURES FOR INSTRUCTION 

beneficence would undoubtedly hasten the advent of 
the educational film library for schools. However, the 
foundation is only one way of getting new things done 
— and while some are working for an endowment, 
others may pursue the more ordinary paths of educa- 
tion of the public, and cooperation of educators and 
manufacturers, by which educational progress has, in 
the main, made its way in America. 

Taxation, the American Way 

The American people, in its taxing capacity, is well 
able to take care of the expense involved in equipping 
schools with motion picture machines and film libra- 
ries, when once it is convinced that motion picture illus- 
trations are desirable for educational progress. Man- 
ual training equipment, domestic science and athletic 
apparatus, music and playgrounds require as much 
expenditure as films, but the expense is now provided 
for by school boards as a matter of course. If the 
schools will buy the films, the regular producers will 
furnish the capital and workers. Visual education 
equipment should certainly rank with playground and 
music equipment in accrediting schools by high school 
and elementary school inspectors. 

The various educational associations mentioned can 
get the films produced by merely showing a sufficient 
number of orders for the prints. The needed motion 
picture illustrations can be worked out by committees 
of leading educators working preferably in subject- 
matter groups, and the list, when so recommended, 
would command the confidence of purchasing bodies, 



THE FUTURE OF EDUCATIONAL FILMS 233 



which in turn would start the wheels of production in 
the studios of the world turning out technical products 
for a market of 200,000 schools, housing twenty million 
students. 

Training Teachers for Visual Education 

Elsewhere in this book (Chapter IX) is given a list 
of institutions that are known to offer courses in visual 
education for teachers, with college credit. This work 
is of first importance in the sane administration of a 
group of aids peculiarly susceptible to flashy and en- 
tertaining results. To this list of universities and 
normal schools, should be added teachers' institutes, 
conventions and special schools of instruction. The 
author has accepted a number of invitations at teach- 
ers' institutes to put on a demonstration of acceptable 
methods of using visual aids in the classroom. 
Through a special arrangement with a manufacturer 
of approved motion picture projectors he was able to 
furnish machines, films and slides, and he was his own 
operator. From this experience he is convinced that 
this method of teaching teachers in service is the most 
available, and capable method of producing immediate 
and practical results. 

McLean County Teachers Institute 

Some county superintendents devote from one to 
three days to an intensive demonstration of visual edu- 
cation methods before their institutes. Here is a 
sample program of this character : 



234 



MOTION PICTURES FOR INSTRUCTION 



McLean County Teachers Institute 

Thursday, Friday, and Saturday, 
December Seventh, Eighth, and Ninth 

bloomington high school auditorium 

Thursday 

10:00 Music 

10:30 "Problems of Preadolescenee" Pringle 
11:15 "Changing Conceptions and Ideals in the Writing and 

Teaching of History" Tryon 
12:00 Noon Intermission 
1 :20 Music 

1:30 "The Present Status of Visual Education'' McClusky 
2:20 "How to Use the History Text-book" Tryon 
3:10 Exhibits and Educational Films. Intermission 
3 :40 "The Use of Visual Aids in Rural Schools" Hollis 
4:30 Close 

Exhibits open until 5 :00 o'clock. 

Friday, December Eighth 

8 :45 Music 

9 :00 "Psychology in Relation to Education" Cameron 
9:50 "Results of Some Experiments in Visual Instruction" 

McClusky 

10:40 Exhibits and Educational Films. Intermission. 
11:10 "The Place of Concrete Experience in Education Freeman 
12 :00 Noon Intermission 
1 :20 Music 

1 :30 "Methods of Study" Cameron 
2:20 "Types of Visual Experience and their Educational 

Value" Freeman 
3:10 Exhibits and Educational Films. Intermission. 
3:40 The Place of the Various Types of Visual Instruction 

Material in the Modern School Hamilton 



THE FUTURE OF EDUCATIONAL FILMS 235 



4:30 Close 

Exhibits open until 5:00 o'clock. 

Saturday, December Ninth 

8 :45 Music 

9:00 "Better Every-day English" Paul 
9:50 "Visual Equipment for School Systems and How to 

Administer Same Efficiently" Hays 

10:40 Exhibits and Educational Films. Intermission. 

11:10 "The Teacher's Vision" Paul 

12:00 Noon Intermission 
1 :20 Music 

1 :30 "The Technique of Testing Imagery" McClusky 
2:30 Close 

Exhibits open until 4:00 o'clock. 

DEMONSTRATIONS 

Miss Lucille Greer will give class demonstrations showing the use 
of the stereograph in teaching. 

These will occur in room 215 as follows : 
At 3 :40 Thursday, a second grade class. 
At 11 :10 Friday, a fourth grade class. 
At 1:30 Friday, a sixth grade class. 
At 3:40 Friday, a second grade class. 
At 9 :50 Saturday, a fourth grade class. 
At 11 :10 Saturday, a sixth grade class. 

There will be two conferences where superintendents, principals 
and others may confer with Dr. McClusky on Methods in Visual 
Education. These will be at 3:40 on Friday and 11:10 on Satur- 
day in Room 205. 

A talk wil be given on the Care and Use of Films. Time and 
place will be announce " 

EXHIBITS 

The exhibits are from the Field Museum of Chicago, The Na- 
tional Society for Visual Education, The St. Louis Museum, The 



236 MOTION PICTURES FOR INSTRUCTION 



Philadelphia Commercial Museum, The Animatograph Company, 
The Bausch & Lomb Optical Company, The Keystone View Com- 
pany, The DeVry Corporation, The Cleveland Public School 
Museum, The University of Illinois. The Welch Scientific Company 
and others. 

LECTURERS 

Dr. F. D. McClusky, School of Education, University of Illinois. 

Dr. Frank N. Freeman, Professor of Educational Psychology, 
University of Chicago. 

Prof. Dudley Grant Hays, Director of Visual Instruction, Chicago 
Public Schools, President National Academy of Visual Instruction. 

Prof. A. P. Hollis, Department of Visual Instruction Service 
North Dakota Agricultural College. 

Dr. E. H. Cameron, Professor of Psychology, School of Educa- 
tion, University of Illinois. 

Dr. Harry G. Paul, Head Professor of English, University of 
Illinois. 

Prof. Rolla M. Tryon, Professor of History Teaching, University 
of Chicago. 

Prof. Ralph W. Pringle, Principal of the University High School, 
Normal University. 

Prof. G. E. Hamilton, Educational Department Keystone View 
Company. 

Another county has just requested assistance in 
holding visual instruction demonstrations in a series 
of teachers' meetings to cover the whole county. The 
more usual method, however, is to have one or two 
exercises on the institute program devoted to the more 
difficult phases of the problem. This includes thread- 
ing and operating the machines. 

An outstanding example of a special school for train- 
ing teachers in visual education is the one organized 
by the DeVry Corporation, a prominent manufacturer 
of motion picture projectors in Chicago. This firm 



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THE FUTURE OF EDUCATIONAL FILMS 237 



holds a free school of visual education each summer 
and employs educators of recognized standing on its 
faculty. The program of this school for the summer 
of 1925 is given : 

THE DeYRY SUMMER SCHOOL OF VISUAL EDUCATION, 
1111 Center St., Chicago HI. 

PROGRAM 

Monday, Judy 27th. 

Forenoon session 9 o'clock. 

The Advancement of Visual Education. H. A. DeVry, 

President, The DeVry Corporation. 
The Modern Stereopticon, Condensers, Objectives, Slide Carrier. 

A. E. Gundelach, 
Vice-President, The DeVry Corporation. 
The Modern Slide. A. P. Hollis. 

(a) Photography (Score Card). 

(b) Coloring. 

Teaching a Reading Lesson With the Stereopticon. 

Dudley Grant Hays, 

Director of Visual Instruction, Public Schools, City of Chicago. 

Afternoon session 2 o'clock. 

Round Table and Question Box. 

(1) Teacher-Pupil use of the slide in reading recitations. 

Nelson L. Greene, 
Editor, Educational Screen, Chicago, 111. 

(2) Practice lessons with slides — each member of the school 
to teach a lesson with one slide selected in the forenoon. 

Direction of Messrs. Gundelach, Greene and Hollis. 

(3) Factory inspection tour to observe manufacture of com- 
plete stereopticon. 

G. K. Weis, Superintendent of Factory, and Mr. Gundelach. 



238 MOTION PICTURES FOR INSTRUCTION 



Tuesday, July 28th. 

Forenoon session 9 o'clock. 

The Portable Projector in Industry. A. E. Gundelaeh. 

The Literature of Visual Instruction. Nelson L. Greene. 

The Geneva Movement. H. A. DeVry. 

Visual Education in a City School System. Dudley Grant Hays. 
Types and Sources of Film For Non-Theatrical Projection. 

A. P. Hollis. 

Visual Education Methods in the World War. Nelson L. Greene. 
Exhibition of a Worth-while Film. 

Afternoon session 2 o'clock. 

Community Work With Films. Dr. R. P. Shepherd, 

Author of "Essentials of Community Efficiency." 
Round Table and Question Box. 

(1) Demonstration of expert threading, and use of two 
machines for projection of more than one reel. J. W. Lang. 

(2) Instruction in threading — each member to thread a piece 

of film through machine. F. Balkin. 

(3) Successive Processes in Manufacture of Intermittent 
(Geneva Movement). G. K. Weis. 

Factory Observation Tour. 



Wednesday, July 29th. 

Forenoon session 9 o'clock. 

Notes from the Non-Theatrical Field. A. E. Gundelaeh. 

Finding the Facts in Visual Education. F. D. McClusky, 

Department of Education, University of Illinois, Urbana, 111. 
Motion Pictures in Church Work. Rev. Frank E. Jensen, 

Editor of the Department, The Church and Pictures, 

Educational Screen. 

Modern Projection Illuminants and Optics. C. E. Egeler. 

Commercial Engineer, General Electric Co., Cleveland, Ohio. 



THE FUTURE OF EDUCATIONAL FILMS 239 



How the International Harvester Company Uses Motion Pictures. 

H. C. Ray. 

Teaching a Lesson With a Motion Picture Film. F. D. McClusky. 
Exhibition of a Worth-while Film. 

Afternoon session 2 o'clock. 

Round Table and Question Box. 

(1) Practice by each student in operating machines and giving 
short lessons using films at various points in the lesson 
(film as introduction — summary — talking with film — stop 
on film. Using films to inspire pupil activity — composi- 
tions — talks — reviews. ) 

Directed by Messrs. Hollis, Gundelach and Balkin. 

(2) Use of Rheostats and Transformers. 

Messrs. Weis, Lang and Balkin. 

(3) Factory Processes in Manufacture of Lamp Housing and 
Optical Supports. G. K. Weis. 
Final Assembly in Case. J. W. Lang. 



Thursday, July 30th. 

Forenoon session 9 o'clock. 

The Take-ups, Rewinds and Stop-on-film shutters. H. A. DeVry. 
Professional and Semi-Professional Projectors. 
Visual Education Departments in Universities. H. W. Norman, 
Director of Visual Instruction, University of Indiana, Bloom- 
ington, Ind. 

Fire Hazards and Laws. A. E. Oundelach. 

The Place of the Museum in Visual Education. 

Miss Amelia Meissner, 
Director, Educational Museum, St. Louis, Missouri. 
Merchandising with Motion Pictures. Douglas Rothacker, 

Rothacker Film Manufacturing Company. 
Americanization Work with Films. F. S. Wythe. 

Author of the film, "Citizens in the Making," New York City. 
Exhibition of a Worth-while Film. 



24U MOTION PICTURES FOR INSTRUCTION 



Afternoon session 2 o'clock. 

Educational Motion Pictures in Europe Albert Bachtold, 

Distributor of Visual Education Equipment, Zurich, Switzerland. 
Round Table and Question Box. 

(1) Operation of Super-Projectors. 

Messrs. DeVry, Lang and Balkin. 

(2) Oiling and Repairing Motion Picture Projectors. 
Demonstration before class. 

Oiling spots of constant need — spots of only occasional need. 

(3) Repairs — the vulnerable spots in a motion picture projector. 

J. Lang. 

(4) Patching Film, and Methods of Storing and Cleaning Film. 

(5) Screens. 

Friday, July 31st. 

Forenoon session 9 o'clock. 

The Better Film Movement, George J. Zehrung, 

Director New York Y. M. C. A. Motion Picture Bureau. 
The Construction of the Moving Picture Camera. H. A. DeVry. 
(The entire school will be shot with the movie camera. Prints 
will be sent to those desiring them. ) 
Motion Pictures in Religious Work for Young People. 

Afternoon session 2 o'clock. 

A Visit to a Moving Picture Studio and Laboratory (Courtesy of 
the Rothacker Film Manufacturing Company). 
Actors and actresses at work on a production. Developing and 
Printing Motion Pictures. Tinting, toning, color processes. 

Examples of this kind show the widespread interest 
in the better type of visual education and are eloquent 
of the future usefulness of these promising new aids to 
education. 



THE FUTURE OF EDUCATIONAL FILMS 241 



The Neighborhood Motion Picture Service, Inc. 

A most promising enterprise is a ready-made cor- 
related film service, including projectors and operators 
as well as films, known as the Neighborhood Motion 
Picture Service, now being worked out in Los Angeles, 
Xew York and New Jersey. F. S. Wythe, producer of 
the series of Americanization films, "Citizens in the 
Making, 1 ' after years of contact with the school situa- 
tion became convinced that the schools were holding 
back from visual education methods primarily because 
it seemed to involve so many difficulties — large sums of 
money, film supply, correlation with courses of study, 
purchase and installation of motion picture projectors, 
operation and repair of the machines, questions of 
storage and fire hazard, and the prompt and safe dis- 
tribution of these materials. 

The thing to do, in his mind, was not merely to bom- 
bard the schools with pamphlets and magazine articles, 
and speeches at educational conventions, but to smooth 
out for them the difficulties mentioned above, and con- 
struct a service that would combine all the elements 
above with the difficulties left out, so that it could be 
offered to schools in such a way, that about all the 
superintendent would have to do would be to sign on 
the dotted line and let the outside organization shoul- 
der the details. 

The booklet issued by the Neighborhood Motion Pic- 
ture Service states : 

The films supplied are Film Lesson courses, 18 one reel lessons 
in each course, or enough for bi-weekly lessons throughout the full 
school year. 



242 MOTION PICTURES FOR INSTRUCTION 



The Neighborhood Motion Picture Service, Inc., is not engaged 
in the occasional rental of special subjects, but confines itself to 
film courses of correlated lessons. 

Film Lesson courses are: 

Important: thereby justifying their inclusion in any course of 
study adapted to motion picture presentations; thereby justifying 
the use of motion pictures as against any other supplemental aid. 

Technically adequate: produced under the direction of competent 
educators by competent motion picture experts for exclusive school 
use. 

A critical examination of the films supplied in these 
schedules bears out all the claims made above. In fact 
most of these films are included in the film libraries 
given in Chapter II of this book. 

The Neighborhood Motion Picture Service has added 
to this film schedule, through arrangement with a 
prominent motion picture projector manufacturer, the 
use of a projector and operator to schools having no 
machine equipment, so that every two weeks each 
school has delivered to it three educational films, a pro- 
jector and an operator. For schools already equipped 
there is a liberal bi-w T eekly film service in which the 
distribution and collection is taken care of by the serv- 
ice. 

Thus far the usual plan is for an organizer to get 
the county superintendent of schools to call a meeting 
of the principals interested in his county or district and 
have the plan presented to the group so that as many 
schools as possible may agree to operate around a com- 
mon center, usually the county seat. The more schools 
sign up under the same plan, the less the cost to each 
school. 




THE FUTURE OF EDUCATIONAL FILMS 243 



The service operates under eight plans known re- 
spectively as : 

Plan I. Complete Service — (film lessons, projector 
and operator but no films left). 

Plan II. Film Library Service — (film lessons only). 

Plan HI. Film Library and Projector Service — (film 
and projectors delivered — no operator). 

Plan IV. Film Library, Projector and Limited Oper- 
ator Service — (a combination of plans one and 
three). 

Plan V. Same as Plan I, with extra projector left for 
continuous use. 

Plan VI. Same as Plan I, with use of any of the thirty- 
six reels of nature study and citizenship at any of 
the bi-weekly lessons. 

Plan VII. Same as Plan II, except films remain one 
week instead of two, thus permitting more schools 
to be served at a lower cost per school. 

Plan VIII. Exchange Service — any film in the whole 
series may be rented at any time as from any reg- 
ular exchange. 

Real Educational Films 

Using his own films as the standard and nucleus, Mr. 
Wythe has assembled the finest classroom (text) films 
to be found in the country. Not every subject of study 
in the modern curriculum is illustrated by these films, 
but three important ones are quite fully treated. 
These are nature study, Americanization and current 
events, for the first year. The second year would add 
eighteen films in history, and the third year eighteen in 



244 MOTION PICTURES FOR INSTRUCTION 

geography. All films used are on non-inflammable 
stock, so that there is never a question of fire hazards 
involving booths, insurance and licensed operators, 
which have proved such obstacles to school installa- 
tions in some cities. Many of the films used are the 
same as those which form the foundation for the three 
film libraries recommended in this book. 

Teachers' Leaflets 

Another great difficulty confronting schools starting 
modern visual instruction methods is the fact that 
many teachers have not let learned how to use films in 
regular classroom recitations, so as to avoid mere film 
showings that do not stimulate thought and release the 
energy of the students. While a few normal schools 
and several universities now offer courses in visual 
education, these are very recent and have not reached 
the great mass of the teaching profession. Neighbor- 
hood Motion Picture Service supplies a teachers' man- 
ual with each subject, and abundant notes and ques- 
tions are given on each lesson. Two of these are given 
as sample film lessons in Chapter V of this book. 

Low Cost 

On account of the block system of securing and dis- 
tributing the films, projection and pedagogical plans 
can all be furnished at the usual rental cost of the films 
alone. Thus far the service has operated in a limited 
area near New York City where the presence of its 
originators and their enthusiasm and grasp of its 



THE FUTURE OF EDUCATIONAL FILMS 245 



problems have sold it to the school systems. A plan 
to present it in the same way to school systems from 
coast to coast has recently been consummated so that 
its range of usefulness may be extended to the whole 
country. 

Should the larger school systems, or others having 
already had sufficient experience to warrant their own 
initiative, wish to add a wider range of films to illus- 
trate these and other subjects in the school program, 
it will be easy to select additional films from the lists 
given in this book. 

Purchase films have no part in the plans of the 
Neighborhood Motion Picture Service. Its plans con- 
template schools renting, rather than owning films. 
The author believes that ultimately schools should pur- 
chase their libraries of films for continuous use during 
the year, just as they purchase books for the library, 
slides, stereographs, stereopticons, motion picture pro- 
jectors and other useful school apparatus. 

However, while we are waiting for this ideal condi- 
tion to occur, the author knows of no practical film 
service, or combined film and projector service that 
compares with that offered to schools by the Neigh- 
borhood Motion Picture Service. 

As far as the author knows there has been no com- 
munication between the Neighborhood Motion Picture 
Service, Inc., and Visual Education, Ltd. of London, 
and yet the film pamphlet of this latter organization 
which has just come to hand, shows that the same con- 
ditions, demanding the same service, obtain in Great 
Britain. Their plan of service to the schools lies so 
closely along that of the Neighborhood Motion Pic- 



246 MOTION PICTURES FOR INSTRUCTION 



ture Service that a part of it is reprinted here for 
comparison : 

A well-planned Visual Lesson, illustrated by the right Kinema 
Film is valuable as a lecture ... it imparts knowledge presented 
in an attractive manner: but this is not enough. 

A Lecture or Lesson which does not work hand in hand with the 
School's curriculum fails to support the Teacher and will not serve 
to make the Text Book live in the way it might do. 

Visual Lessons should be given once a week or a fortnight in 
order to serve as a rallying point for the preceding teaching: they 
should amplify and illustrate the Teacher's work . . . and this is 
the object of the Visual Education Lectures. 

The Schools which have adopted the Visual Lesson as a regular 
event find that teachers and pupils, as well as parents, support 
strongly a step forward which makes reality out of what before 
were abstract and imagined facts or statements. 

Lectures and Lessons illustrated by the modern Kinema projector 
constitute the most important feature in Visual Education. 

Our object is to use this medium to its full extent by employing: — 

Lecturers who are specialists in their subjects. 

The best possible films procurable. 

The latest and best methods to assist the Teacher. 

In order to meet the requirements of Schools and Colleges in gen- 
eral, Visual Education, Ltd. offer the following services:— 

Lecture Service. 

Operator Service. 

Film Hire Sendee. 

As this final chapter is being written, announcements 
have been made of two international film conferences, 
dealing with films in education, to be held in Septem- 
ber, 1926 ; one at Basel, Switzerland, and the other in 
Paris. The Paris conference concerns itself princi- 
pally with the theatrical film, but the educational aspect 
is recognized as a legitimate portion of the program. 



THE FUTURE OF EDUCATIONAL FILMS 247 



It is significant, however, that the Paris Motion Pic- 
ture Conference is under the auspices of the League 
of Nations. The French National Committee on Intel- 
lectual Cooperation is in direct charge of the congress. 
The Basel conference, however, is entirely on the edu- 
cational film, and its announcement is a very good in- 
dication of the present European sentiment on the 
subject. A portion of the announcement is reproduced 
here : 

In the course of the last decade great progress has been made in 
the introduction of the film as a means of instruction. In most 
countries eminent pedagogues have undertaken, in cooperation with 
the film industry, to utilize the incontestable advantages of the mov- 
ing picture for teaching and for education in its broadest sense. — 
In all these efforts the following facts have become evident : 

1. In many cases the film is a means of instruction of specific 
value, above all in such cases where incidents of life and 
movement are concerned which cannot be reached directly. 

2. The highest aim is to adapt the use of the film in class instruc- 
tion. The instruction of large numbers of pupils by means 
of the film and outside the class room may only be considered as 
a makeshift in transitory stages of economic difficulties. 

3. For some particular subject-matter and large syntheses the in- 
struction film on a large scale will always have a great value. 
Especially this type of film appears to be the most appropriate 
medium for popular education in a broad sense. The fight 
against the low class film is most efficiently conducted by means 
of the good film. 

4. The State, in its attempt to combat the abuses in the moving 
picture industry, must make use, on a large scale, of the instruc- 
tion film. The State is in duty bound to educate youth to a 
sound criterion and to cultivate its taste. 

5. In spite of the good intentions of and the considerable sacrifice 
made by the producers of instructive films the films of this class 
today existent do not always come up to the requirements made 



248 MOTION PICTURES FOR INSTRUCTION 



by the pedagogues. This may partly be due to the heretofore 
lacking cooperation by the educationists but also to the fact 
that the production of instructive or educational films has 
proved unprofitable owing to the reduced market for such films . 
6. Notwithstanding the considerable number of educational films 
in existence there is up to the present no clear survey or 
system in this subject-matter. This leads to an overproduction 
in some lines while there are large gaps in others. The school 
authorities are quite often wholly dependent on the catalogs of 
the producers instead of finding assistance by the experience of 
neutral and expert pedagogues. 
All these questions must be discussed and solved, but it would be 
futile to attempt a solution on a national basis inasmuch as the film 
industry has long ago become international. 

Recognizing the fact that the State may no longer withhold its co- 
operation in this task, the undersigned authority has caused the gov- 
ernments of all countries to be invited to a First Conference on 
Educational Films to be held in Basel during September, 1926. 
The special object of the conference will be : 

1. Discussion of the above mentioned questions of general interest 
by expert representatives from the various countries, in order 
to arrive at a clear survey of the subject-matter. 

2. To adopt a uniform plan and system for the production of 
educational films. This is to afford the school authorities an 
opportunity to procure film material meeting fully the require- 
ments and at the same time to provide a more extended and 
dependable market for the producers of such film. 

3. To organize the international exchange of unquestionably 
good educational films. 

4. To incite the authorities and educationists of all countries to 
intensive and clearsighted activity on the basis of mutual co- 
operation for the future development of the educational film. 

The author has carefully refrained from rhapsodiz- 
ing on the value of films in education, but Ellis and 
Thornborough * have put the case for the educational 

* Motion Pictures in Education. 



THE FUTURE OF EDUCATIONAL FILMS 249 



film in its legitimate uses, so cogently and eloquently 
that the whole passage deserves quotation : 

To a greater extent than any still representation, the cinema is 
able to present objects as they actually exist, move and have their 
being; bring distant peoples into the classroom and show them 
actually going about their ordinary pursuits as they really did in 
the distant land when the picture was being taken; or, better still, 
it in effect transports the spectator to the distant land and en- 
ables him to mingle and live with its inhabitants, to view the 
country from the observation platform of a railroad train as it 
winds its way through the chasms and valleys and mountains, or 
to stand beneath the waterfall many hundreds of miles away and 
almost feel the spray upon his brow. 

Motion pictures overcome time and space. By means of them 
rapid processes can be slowed down and analyzed; slow processes 
can be accelerated; inanimate objects become animate; dead facts 
made to live and pulsate. Attention can be held and concentrated 
and the memory more deeply impressed by the moving image pro- 
jected on a brightly illuminated screen in a darkened room than 
by ordinary teaching methods. 

Scientific experiments and demonstrations performed with this 
ideal equipment and under the best possible conditions, and opera- 
tions performed in the clinic can, by means of motion pictures, be 
repeated indefinitely anywhere and at small expense. Microscopic 
life can be enlarged many times on the screen, so that what can 
ordinarily be seen with great difficulty through the microscope by 
only one at a time can easily be viewed on the screen by the entire 
class. Motion pictures expand the experiences of the pupils by 
bringing to them the whole wide world. Schoolroom instruction can 
by this newer medium be made more pleasant, less expensive in the 
long run and immeasurably more efficient. 



PART II 

COMPREHENSIVE LIST OF EDUCATIONAL 

FILMS 



GENERAL PLAN OF THE COMPREHENSIVE LIST 
OF EDUCATIONAL FILMS 



(The listing is alphabetic by the first significant word in the 
title of the film. Such beginning words as "a," or "the" in 
a title, are not considered. Addresses of exchanges are given 
after the titles. Abbreviations used are explained in the foot- 
note given on page 257. 

Free Films 

geography 261 

North America 261 

United States 261 

Eastern States 261 

Middle States 263 

Western States 263 

Southern States 271 

Canada 272 

Central America 278 

South America 278 

West Indies , 278 

Other Islands 279 

Europe 279 

Asia 281 

Africa 282 

history 282 

nature study and zoology 283 

language and literature 285 

VOCATIONAL STUDIES , ............. , ? 285 

253 



254 MOTION PICTURES FOR INSTRUCTION 

Domestic Science 285 

Agriculture 290 

Manufacturing 298 

Automobiles 298 

Railroads 300 

Building Materials 301 

Cloth and Covering 302 

Bookmaking, Printing, Etc 304 

Electricity 304 

Metals and Minerals 308 

Mining 309 

Glass ; 311 

Pottery 311 

Miscellaneous 312 

PHYSIOLOGY AND HEALTH 314 

WELFARE 317 

athletics and sports 321 

economics, business, etc 322 

astronomy, physics and chemistry 323 

Rental Films 

geography 324 

North America 324 

United States 324 

Eastern States 324 

Western States 327 

Southern States 330 

General 331 

Alaska 332 

Canada 333 

Central America ... 334 

South America 335 

Europe 336 

West Indies 346 



GENERAL PLAN OP COMPREHENSIVE LIST 255 



Other Islands 347 

East Indies 349 

Hawaii 352 

Asia 354 

Africa 361 

Physical 362 

HISTORY 363 

CITIZENSHIP 368 

NATURE STUDY AND ZOOLOGY 370 

LANGUAGES AND LITERATURE 379 

VOCATIONAL STUDIES 389 

Domestic Science ' 389 

Agriculture , 390 

Manufacturing 391 

Building Materials 391 

Cloths and Coverings 391 

Electricity 392 

Mining 392 

Metals 393 

Pottery 393 

PHYSIOLOGY AND HEALTH 394 

WELFARE 396 

ATHLETICS AND SPORTS 396 

CHEMISTRY 403 

PHYSICS 404 

electricity and magnetism 404 

miscellaneous 404 

Purchase Films 

BRAY PRODUCTIONS, INC., 120 W. 42nd St., New York City. ... 408 
VISUAL TEXT SALES CO., 1268 So. Grenshaw Blvd., Los Angeles, 

Calif 412 

CARLYLE ELLIS, 220 W. 42nd St., New York City 416 



RAYMOND L. DITMARS, New York Zoological Society, Borough 



256 MOTION PICTUEES FOR INSTRUCTION 



of Bronx, New York City 419 

THE DeVRY CORPORATION, Motion Picture Projector and Cam- 
era Manufacturers, 1111 Center St., Chicago, Illinois 422 

THE FORD MOTION PICTURE LABORATORIES of the Ford 

Motor Co., Detroit, Michigan 427 

APOLLO FILM COMPANY, (Beseler Films), 286 Market St., 

Newark, New Jersey 432 

URBAN-KINETO CORPORATION, Irvington-on-Hudson, New York 432 



Reels issued by departments of the United States Government are 
listed under the proper subject-matter classification, in the list of free 
films, Part II (Comprehensive List of Educational Films). These 
are also sold to schools at cost. 

OFFICE OF MOTION PICTURES, U. S. DEPARTMENT OF AGRI- 
CULTURE, Washington, D. C. 

Department of the Interior, Bureau of Mines, Pittsburgh, Pa. 

U. S. Department of Labor, Children's Bureau, Washington, D. C. 

U. S. Public Health Service, Washington, D. C. 

PATHE EXCHANGE INC., (Long Term Lease)— 35 W. 45th St., 
New York City. The Pathe" Films are listed under Rental Films in 
Part II, except those already listed in the film libraries in Chapter II. 

Most of the industrial films (like the International Harvester Com- 
pany and General Electric Company) who have films listed under Free 
Films in The Comprehensive List, Part II, will sell prints at cost to 
educational institutions. 

Schools starting to form permanent film libraries would do well to 
write any of the firms or exchanges mentioned in this book, as many of 
them would make up prints to order, even though they do not ad- 
vertise prints for sale. 



COMPREHENSIVE LIST OF EDUCATIONAL FILMS 
WITH DESCRIPTIVE NOTES * 



These films are in addition to the films used in the film li- 
braries given in Chapter II of this book, and where more than 
the three reels per week of the One Hundred Twenty Reel 
Library are desired, these additional films may be ordered 
from the addresses given. The films are divided into three 
main groups : Free Films, Rental Films, and Purchase Films. 
Prices are occasionally given from as authentic sources as we 
were able to obtain, but they are not guaranteed, as there is 
little constancy in such matters among exchanges. The classi- 
fications used are those of the regular school studies, and the 
arrangement is alphabetical within each subject. The descrip- 
tive notes indicate in a general way the content and character 
of the film. Films starred (*) are accompanied with synop- 
ses and teachers' notes. 

* Abbreviations occurring most frequently in this list: 



U. S. Ag Office of Motion Pictures, Extension Service, United 

States Department of Agriculture, Washington, D. C. 
Many of these Government films are handled by State 
Universities and other educational film distribution 
centers. 

Bu. Mines Bureau of Mines (U. S.), Pittsburgh, Pa. 

N. C. R Educational Service, National Cash Register Co., Day- 
ton, Ohio. 

G. E General Electric Co., Schenectady, N. Y. 

W. E Westinghouse Electric & Manufacturing Co., East Pitts- 
burgh, Pa. 

Can. M. P Canadian Government, Motion Picture Buieau, Ottawa, 

Canada. 

Leggett J. A. Leggett, 1476 Broadway, New York City. 

257 



258 MOTION PICTURES FOR INSTRUCTION 



Films for High Schools 
(Not Arranged in Courses) 

As explained before, many of the films recommended for the 
elementary grades, are suitable also for high school students, 
and even for the college classroom. It is the teacher's treat- 
ment of the film, her questions and supplementary facts, that 
will determine the grade of the film, more than the film itself. 
With older children technical features can be held on the 
screen (by means of the stop-on-the-film shutter) so that a 
more detailed study of mechanisms and complicated forms 
can be made than in the case of elementary pupils. 

The three film libraries given in Part I are really all short, 
and entirely inadequate for the larger school systems. It 
should be borne in mind, however, that slide lessons will be as 
frequent as film lessons, perhaps more frequent, so that where 
only two film showings per week are held by the school, two 
or more slide lessons are probably given too, making four or 
more screen lessons each week. 

Superintendent Emery of Pawtucket, R. I., a city of about 
70,000 people, has made some careful studies * of the film 
needs of a city of that size, containing 25 school buildings. 
He recommends the rental of 10 or 12 reels a week during the 
school year, ' 1 These to be routed for a day at a time to the 
various larger schools, with occasional use with a portable 
machine in the smaller schools. 9 9 

When there are 20 school buildings in a city, the film would 
need to be run 20 times — 40 times if the teachers collectively 
have not had a preview of the films. This would require the 
film to be held several days in order to make the circuit of 
the schools. If a reel renting for $4.00 had to be held 5 days, 
it might make the total rental for one reel $20.00. It would 

* James Newell Emery, "Visual Instruction in a Small City System/' 
the Educational Screen, September, 1925. 



LIST OF EDUCATIONAL FILMS 259 



be better economy, in such a case, for the school to purchase 
a print outright and use it whenever and wherever it was 
called for and make as many repeat showings as desired. 
Such a print would last a school from five to ten years, since 
two hundred showings are considered the average lifetime of 
a film. 

School systems of this size and larger, while using our short 
courses as cores, should have the visual instruction committee 
dip into the Comprehensive List in Part II, and make out 
longer and more complete sets of film illustrations, in both the 
Elementary and High Schools. 

Three short film libraries only are outlined in this book, 
merely to make it easy for small systems to start. One can 
go on adding reels indefinitely to make richer courses, from 
the list, with descriptions of each film, which is given in the 
pages following, thus enabling each system to build up its 
own courses. 

PRIMARY GRADES NOT INCLUDED * 

There are a number of fairy tales and fanciful pictures 
produced for children in the first three grades, but as these 
are chiefly entertaining they are not included in the film 
libraries. And indeed, motion pictures have very limited in- 
struction values for children of the fourth grade. Several 
years ago the author made some experiments in showing 

* Since writing the above the author witnessed several primary lessons 
with films under the general supervision of Miss Stella E. Meyer, Di- 
rector of Visual Education, Forest Park, 111. A health film in fairy 
story form (The Knowing Gnome) was made the basis of informal 
lessons. The teachers explained the titles as the films were shown. 
After each lesson the children were questioned by the teacher, and their 
answers showed that they had been greatly impressed by the story 
and one of the teachers suggested that the children dramatize the film. 
This they did in a very striking manner. This story type of film 
with educational implications can doubtless be used to advantage in 
primary grades — at infrequent intervals. 



260 MOTION PICTURES FOR INSTRUCTION 



juvenile films to primary pupils, and later on was permitted 
to observe other teachers use films in primary grades and the 
results convinced him that in the main, it was not a profitable 
proceeding. Most of the titles were too hard for the children 
to read, and even where the vocabulary was simple, the speed 
was too great for reading. The pictures were also too speedy 
for intelligent following. The children's re-telling of the 
stories was greatly mixed in plot and details. Remembered 
portions from other children's versions of the story were in- 
troduced. Here the movies made for mental confusion. The 
still picture is greatly to be preferred for children up to nine 
years of age, where the aim is instruction. 

Free Films* 

To obtain these films with the most economy, the teacher 
or school official in charge of visual education should write 
first to the state university, state agricultural college, state 
department of education, or the state department of health 
nearest him, as these educational distribution centers gather 
films from all sources mentioned and can give more favorable 
terms than private exchanges. If they do not have the de- 
sired films, then the addresses given after the title of the films 
should be tried. 

The Motion Picture Bureau of the Y.M.C.A., 120 W. 41st. 
St., New York City, or 1111 Center St., Chicago, Illinois, has 
a large number of these free films for general distribution; 
so has the Educational Service of the National Cash Register 
Company, Dayton, Ohio. 

* An interesting list of 195 pictures on 48 countries is published by 
the Extension Division of the University of California. Address Ed- 
ward Mayer, Dept. Visual Instruction, University of California, 
Berkeley, California. 

The unusually large list of this University and that of the University 
of Wisconsin, are of great value for reference, even if one does not 
live in those states. 



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LIST OF EDUCATIONAL FILMS 



261 



Films are one reel except where otherwise indicated. Non- 
inflammable prints should always be requested. 

Geography 
NORTH AMERICA 

United States (Eastern States) 

Across the Atlantic on a Giant Liner — International Mer- 
chant Marine, 1 Broadway, New York City. 

An ocean voyage from New York to Cherbourg, France, on a giant 
liner — wonderful panorama of Xew York's skyline — interesting scenes 
of activities aboard ship — arrival at Cherbourg. 

Cloud-Busting — ( White Mountains,) — U. S. Ag. 

Adventures of an automobile touring party in the White Mountain 
National Forest, New Hampshire. Of general interest. 

Labrador and New England — N. C. R. 

Codfishing — fox farms — the whaling industry — the rugged coast of 
Labrador — Eskimo boys — Eskimo life — Twin Sister Falls — Newfound- 
land. 

New York City — Skyscrapers — N. C. R. 

Handling the traffic at one of the busiest corners in the world — 
picturesque skyscrapers — a great public library. 

Xew York City — Foreign Population — N. C. R. 

The famous East Side tenement district with children's playgrounds 
— also Ellis Island. 

New York City — The Elevated Railways and Wall 
Street — N. C. R. 

Views of the elevated railroad system — the sub-treasury — Wall Street 
— Trinity Church. 

New York State — Beauty Spots — A 7 . C. R. 

Interesting views of the Hudson River — Tarrytown — the Catskills — 

The Waterfall in the Bronx — Ausable Chasm. 



262 MOTION PICTURES FOR INSTRUCTION 



New York City — Around Manhattan Island by Boat — 
N. C. R. 

A steamer trip up the East River, through Hell Gate to the Harlem 
River, and down the Hudson past the Palisades — famous bridges. 

New York City — Bathing Beaches — N. C. R. 

Mostly Coney Island. 

New York City — Transportation — N. C. R. 

The elevated railway — subway — street cars — ferryboats, and busses. 

Niagara the Glorious — Can. M. P. 

A beautifully photographed scenic . film. Niagara Falls, including 
panoramic and close-up views of the Horseshoe and American Falls, 
the Whirlpool Rapids, and the Gorge, together with glimpses of their 
picturesque environs. 

Niagara Falls — N. C. R. 

Panorama of the world's most famous scenery — views of the Horse- 
shoe and American Falls, the Whirlpool Rapids, and the Gorge. 

North Wind Masonry (Niagara Falls) — N. C. R. 

The effect of winter's transforming hand on the splendor of Niagara 
Falls. 

Prosperity Special, The — Baldwin Locomotive Works, 
Philadelphia, Pa. 

A trip through Pennsylvania behind twenty locomotives — views along 
the Susquehanna and through the Allegheny Mountains — Horse Shoe 
Curve and Pittsburgh. 

Seeing Washington, D. C. — N. C. R. 

The U. S. Department of Agriculture pictures the trip of the Boys' 
and Girls' Club champions through the nation's capital. 

Waste Disposal in Cities — N. C. R. 

First method: Discharging waste into the ocean — Second method: 
The action of bacteria through filters in purifying the sewage. 

When Winter Comes in New England, Niagara Falls, and 
Quebec — N. C. R. 

Winter scenes in New England, Quebec and at Niagara. 



LIST OF EDUCATIONAL FILMS 263 



Winter Logging in the White Mountains — U. S. Ag. 

Timber in the White Mountain National Forests and the lumberjacks' 
life and work. 

United States (Middle States) 

Along the Green Bay Trail — Chicago, North Shore & Mil- 
waukee Railway, Chicago, III. 
A famous Indian trail from Chicago to Milwaukee, traversed by a 
modern electric railroad, with glimpses of Fort Sheridan, the Great 
Lakes Naval Training Station, and views of the cities in between. 

Pace of Progress — Chicago, North Shore & Milwaukee, Rail- 
way, Chicago, III. 

The old Indian method of transportation compared with the prairie 
schooner, stagecoach and present day electric railroad. 



Pullman Travelogue #11 The Pullman Co., Pullman 
Pullman Travelogue #2 j Building, Chicago, III. 



The comfort of the modern Pullman coach compared with the ordinary 
day coach. All views of life and conveniences on board a Pullman. 

United States (Western States) 

Above the Clouds in Rainier National Park — Northern 
Pacific Railway, St. Paul, Minn. 
Superb mountain scenery of Mt. Ranier and Paradise Inn. 

Arizona, In — N. C. R. 

A world of cliff-dwellers — Roosevelt Dam — giant cactus — other in- 
teresting scenery of Arizona. 

Arizona, Grand Canyon — Castle Films, San Francisco. 

A beautiful picturization of a spot famous both for beauty and for 
geological interest. 

Alaska and Island Possessions of U. S. — N. C. R. 

The Yukon River region, with views of Eskimo dogs — the Hawaiian 
Islands — the sugar industry of the Philippine Islands and Porto Rico. 



264 MOTION PICTURES FOR INSTRUCTION 



Battle op Mud — Buick Motor Co., Flint, Mich. 

The struggles of an automobile through seas of mud ; an excellent plea 
for good roads. 

Carriso Gorge — Chicago, Rock Island and Pacific Railway, 
LaSaLle Street Station, Chicago, III. 
The constructing of a railroad through a gorge. vSan Diego, Cal- 
ifornia, comes into the picture. 

Caterpillar Crowning the Summit of Pike's Peak — Cater- 
pillar Tractor Co., Peoria, III. 
An unusual way to reach the summit of Pike's Peak by a "caterpillar" 
tractor. Wonderful scenery all the way along. 

Crossing the Great Salt Desert — V. S. Ag. 

Overcoming the difficulties of the desert in building the Wendover 
road — the short-cut — unusual road engineering — mirages as seen by the 
motion picture camera. 

De Vargas Day in Santa Fe, New Mexico — U. S. Ag. 

A picturesque religious ceremony. 

Dude Ranches in Montana — Northern Pacific Railway, St. 
Paul, Minn. 

How a "tenderfoot" is broken in in the Absaroka Mountains near 
Red Lodge, Montana; also views of Beartooth and Sawtooth mountains. 

Electrical Travelogue — W. E. 

Another evolution-of-transportation reel, starting with the early 
Egyptians and ending with the electric locomotive; rich in the moun- 
tainous scenery of the West. 

Endurance — Dodge Bros., Detroit, Mich. 

W 7 onderful work of an automobile through almost impassable roads, 
with glimpses of the oil country and the drilling and shooting of an oil 
well. 

Fiery Lance, The — U. S. Ag. 

Across the Continental Divide to a forest fire — a lesson in the causes 
of forest fires. 

From a Car Window Along the Great Northern Railway 
— Great Northern Railway, St. Paul, Minn. 



LIST OF EDUCATIONAL FILMS 



265 



Glimpses of great plains and great mountains in the western part of 
our country — the wide variety of surface and occupations observed. 

From Ranch to Ranch in California — U. S. Ag. 

A picture of the trip taken annually by the California Farm Bureau 
agents under the auspices of the University of California. 

Glimpses of California — N. C. R. 

Views of Spanish Missions — Chinese children — wild ducks — alligators 
— petroleum wells under the sea. 

Grand Canyon on the Colorado — Leggett. 

A color film showing the natural beauty, and the vegetation of the 
canyon country, with views of the Hopi Indians and their homes. 

Grand Canyon and the West — A T . C. R. 

The Grand Canyon of Arizona — mountains of Utah — the Arapahoe 
Indians in Wyoming — horses and cattle of the great plains. 

Gypsy Scientists — N. C. R. 

The Cascade Mountain Ranges of the State of Washington are ex- 
plored by a group of scientists. 

Highroads and Skyroads — V. S. Ag. 

The construction of government roads through great forests; beauti- 
ful scenery enroute. 

Industrial Oakland — Chamber of Commerce. 

A tour of one of the most interesting cities in the W r est, showing its 
industrial and residential sections, colleges, parks and playgrounds. 

Valley of Heart's Delight — 2 reels— Department of Visual 
Instruction, University of California, Berkeley, Calif. 
The Santa Clara Valley, one of the most beautiful districts in Cal- 
ifornia — views of schools, universities and missions in San Jose, Santa 
Clara and the Stanford University at Palo Alto — the Saratoga Blossom 
Festival — blossoming orchards and harvest time — beach and park scenes, 
the Redwood trees, and nearby mountain peaks — Lick Observatory — the 
quicksilver mines. 

Man-Made Eden, A — Leggett. 

An Eden from a desert, Los Angeles — homes and public parks — uni- 



266 MOTION PICTURES FOR INSTRUCTION 



versity — schools and churches — industries — the harbor with boats from 
the four corners of the world. 

Meadows and Mountains, — V. S. Ag. 

Great mountain falls in Gallatin — Gallatin National Forest in Mon- 
tana — feeding grounds of the elk. 

Mountains of Oregon — N. C. R. 

How to open up a mountain road after a snowstorm — views of 
Crater Lake, Mt. Hood — glaciers and winter sports. 

Mountain Ranch, A — Dodge Brothers, Detroit, Mich. 

A mountain ranch in the heart of the Rockies — a trip with the "boss"' 
over Colorado's largest sheep ranch, near Garo. 

My Pal — Atlas Educational Film Co., Oak Park, 111. 

Actually an industrial film, but made into an interesting story 
featuring the racer, Ralph Mulfod, touring the Rockies; excellent 
scenery. 

On the Trail of the Beautiful — Leggett. 

Los Angeles — Santa Monica bathing beaches — Ocean Park, Venice, 
and Long Beach — Culver City and Hollywood, and a peep behind the 
scenes. 

Opening the Cherokee Strip — y 2 reel — Chicago, Rock Island 
& Pacific Railway, LaSalle Street Station, Chicago, III. 

A reproduction of the unique land rush that occurred when the Cherokee 
Strip was opened to homesteaders in 1893. 

Outdoor Life in the Rockies of Colorado — U. S. Ag. 

The Holy Cross and White River National Forests — Hanging Lake — 
Snowmoss Lake — Thompson Canyon. 

Pack Train Trip Through Washington — U. S. Ag. 

Across the Northern Cascades with mules, a tent, and a canoe — 
mountain streams and glaciers. 

Pillars of Salt — G. E. 

The mining and refining of salt — excellent photography one thousand 
feet underground. 



LIST OF EDUCATIONAL FILMS 267 



Rainier National Park — Northern Pacific By., St. Paul, 
Minn. 

A typical tourist journey through Rainier National Park — rare 
scenic beauty and sports. 

Roads from Surf to Summit — U. S. Ag. 

The national forests of the Pacific coast states from motor high- 
ways. 

Roosevelt National Park — {Proposed) — Northern Pacific 
By., St. Paul, Minn. 
A scenic reel through the good Bad Lands of North Dakota — scenes 
of some of strenuous days of Roosevelt's early manhood. 

Saddle Journey Through the Clouds — Castle Films, 268 
Market St. San Francisco, Calif. 
A trip over central California's mountain range with saddle and pack 
— Devil's Postpile — Fenceposts of the Giants — Devil's Wash Basin — the 
Minarets— -Shadow Lakes. 

San Francisco— Castle Films and N. C. B. 

The N. C. R. film shows the busy streets, civic center, buildings and 
monuments of San Francisco. Chinatown is included and the Golden 
Gate Park. 

Santa Fe National Forest — 2 reels — V. S. Ag. 

Points of interest in the Santa Fe Forest — fishing in the Pecos River 
— the Panchuela Ranger Station — skiing in June — Spirit Lake and the 
Continental Divide. 

Santa Fe — The following list of films, produced for the 
Atchison, Topeka & Santa Fe Bailway, relate to this en- 
tire general region, and are obtainable through the gen- 
eral offices of the Atchison, Topeka & Santa Fe Bailway, 
80 E. Jackson Blvd., Chicago, III. 



Across the Grand Canyon 1 reel 

Across the United States of America 1 " 

California Missons 1 " 

Chicago-California 2 " 

Gallup Indian Ceremonial 2 " 

Grand Canyon in Winter 1 " 



268 MOTION PICTURES FOR INSTRUCTION 



Grand Canyon National Park 


2 " 


Grand Canyon Tinted Keel 


l " 


Indian Ceremonials and Dances 


2 " 


Indian Home Life and Industries 


2 " 


Old Missions of California 


1 " 


Sante Fe, New Mexico, and Vicinity 


2 " 


Santa Fe Fiesta 


2 " 


{San Francisco, City of Hills, Etc. 


1 " 


Southern Arizona 


2 " 


Southern California Picture Book 


2 " 


Yosemite Valley over Tioga Pass 


1 " 


Scotia, the Home op Redwood — Pacific Lumber 


Co., 332 S. 



Michigan Ave., Chicago, III. 

Scotia, California, and its twenty-century-old redwoods, the oldest 
living things — scientific reforestation — a trip through a modern saw- 
mill — wood turning. 



Seattle — Chamber of Commerce of Seattle. 

A series of contrasted views between the Seattle of forty years ago 
and the vigorous, progressive city of the present day. 

Sir Loin of the T-Bone Ranch — U. S. Ag. 

Cattle on the western range — stirring ranch scenes, as well as in- 
structive methods of the industry. 

Sixty Minutes from Broadway — Leggett. 

Scenes in and around Los Angeles and Pasadena — lion and alligator 
farms — orange groves — San Gabriel Mission — Mt. Wilson and the ob- 
servatory — Catalina Island and a view of the submarine gardens through 
a glass-bottom boat. 

Sportsman 's Paradise in Colorado— U. S. Ag. 

Fishing amid famous scenes — a harmless bear hunt — fire look-outs in 
the mountains — much of the scenery is in the Cache la Poudre Canyon 
and the north fork of the White River. 

Story of the Orange, the — Leggett. 

A famous picture produced by the California Fruit Growers Ex- 
change and distributed by Leggett — the whole story of the orange from 
seed to shipment. 



LIST OF EDUCATIONAL FILMS 



269 



Story of Our National Parks — Rothacker Industrial Films, 
Inc., 1339 Diverse]} Parkway, Chicago, III. 
A motor bus tour of Yellowstone, Yosemite, Grand Canyon, and Rocky 
Mountain National Parks. 

Summer Fun in Western National Forests — U. S. Ag. 

Fishing, boating, riding, and motoring in some of the National 
Forests of the West — re-stocking lakes and streams with fish fry from 
the state hatcheries. 

Summer Home in the Sierra National Forest — U. S. Ag. 

How land may be rented from the government and a summer home 
built in the National Forest. 

Touring California's Ports — Leggett. 

Union Square, Chinatown, and Golden Gate Park of San Francisco — 
through the Golden Gate on a steel "greyhound"' — Alcatraz Island, the 
prison island since the early days of the Spaniards — Los Angeles — San 
Diego — Balboa Park and Coronado Beach — an aquaplaning thriller. 

Trailing the Apache Trail of Arizona — Leggett. 

The great scenic highway — the start of the trail at Globe, Arizona — 
Sierra Ancha range — Roosevelt Lake and Dam — canyons and gorges 1 — 
Tonto Apache Indians and the ruins of their ancient cliff dwellings. 

Transportation — 2 reels — W. E. 

This W. E. electric film was made by the Bureau of Mines in Pitts- 
burgh, Pa., and shows the methods of transportation beginning with 
sleds drawn by slaves and ending with the powerful electric locomotive. 

Tumbling Waters — U. S. Ag. 

Water falls and other scenic wonders in Middle Creek Canyon and 
Gallatin National Forest, Montana. 

Up to Hyalite — TJ. S. Ag. 

Adventures of a group of tenderfeet who are lost in the Middle Creek 
Canyon — the search for them headed by the Forest Service Men — 
mountain scenery enroute. 

Water for Cities from National Forests — V. S. Ag. 

How Portland receives its water supply from the Oregon National 
Forest. 



270 MOTION PICTURES FOR INSTRUCTION 



Wealth of the Absarokas, The — Northern Pacific Rail- 
way, St. Paul, Minn. 
The picturization of the old-time prospectors and the gold miners in 
the Absaroka Mountains — Grass-hopper Glacier. 

When Cowboys Get Together — TJ. S. Ag. 

Frontier Sports — fun and skill in horsemanship. 

Where Rails End — Chicago and Northwestern Railway 
(Atlas Educational Film Co., Oak Park, III.) 
A trip over a great railroad to Lander, Wyoming, the end of the road, 
and from there by stagecoach through the mountains to Yellowstone. 

Wichita National Forest and Game Preserve — TJ. S. Ag. 

Weird rock formations and scenic wonders of this little-known forest — 
birds, bison, and an Indian buffalo hunt — wild turkeys and deer. 

Winged Guardians of the Forest — TJ. S. Ag. 

Patrolling for forest fires with airplanes and balloons — scouting for 
fires — fire is discovered — soldiers and forest rangers to the rescue — 
methods of fire fighting. 

Woolly West, The — 2 reels — TJ. 8. Ag. 

Sheep industry on the range — beautiful scenes in the Shoshone Na- 
tional Forest in Wyoming. 

Work of a Forest Ranger — TJ. S. Ag. 

A diary of the daily tasks of the men who care for the national 
forests. 

Way of the West, The — N. C. R. 

The celebration called "Frontier Days" at Prescott, Arizona — daring 
rides by the cowboys. 

Washington and Idaho — N. C. R. 

This reel pictures Lake Chelan in the Cascade Mountains — the Kicke- 
tet River — Yellowstone National Park, with its falls and geysers- 
Salmon River, Idaho — Box Canyon— Snake River. 

Yosemite Valley, The— N. C. R. 

The Mountains of California — hiking on Mt. Lowe — the scenic beauty 
of the Yosemite Valley in summer and winter. 



LIST OF EDUCATIONAL FILMS 271 



United States (Southern States) 
Fishing Industry in Florida — N. C. R. 

Shark fishing — marine turtles — groupers — sponge fishers — an alliga- 
tor hunt. 

Florida, the Peninsular State — N. C. R. 

Lighthouses on the Florida keys — St. Augustine — the winter home of 
Harriet Beecher Stowe on the shore of St. Johns River. 

Home of the Seminole, The — N. C. R. 

The Everglades of Southern Florida — camps, occupations, and man- 
ner of living of the Seminole Indians. 

In Dixie Land — N. C. R. 

Military School at Charleston — the Texas Rangers — an old quarry 
transformed into a garden — hanging moss — the Mardi Gras at New 
Orleans. 

In the Glory of the Past (San Antonio) — N. C. R. 

San Antonio, Texas — the Alamo — the Mission of San Juan — the Mis- 
sion of San Francisco — the Mission of Conception. 

In the Sunny South — N. C. R. 

Military training — a water power electric light plant — a pilgrimage 
of Russian gypsies — trout fishing in North Carolina — magnolia gardens 
in South Carolina. 

Into the Big Cypress (Everglades) — N. C. R. 

A trip into the Everglades to a camp of Seminole Indians. 

Lookout Mountain — N. C. R. 

Springtime in Dixie — gathering holly and mistletoe — baptismal serv- 
ice in the Columbian River — Lookout Mountain, the location of one of 
the greatest battles of the Civil War. 

Manufacture of Arkansas Soft Pine — Southern Lumber 
Co., Warren, Ark. 
From the felling of the trees in the forest to completed product — 
close-up scenes throughout, showing each operation. 



272 MOTION PICTURES FOR INSTRUCTION 



Mississippi River in Dixie, The — N. C. R. 

The Mississippi River in Dixie — a swamp in Georgia; scenes along 
the Mississippi and Swanee rivers. 

Primitive Life in Tennessee — N. C. R. 

Mountaineers living as their ancestors did a hundred years ago — 
sheep raising — log cabins — a spinning wheel — weaving — the flintlock 
and tinder box — home-made tallow candles. 

Texas Trail to Your Table — Swift & Co., Vnion Stock 
Yards, Chicago, 111. 

Life on a Texas cattle ranch — a packing plant. 

Tropical Gems of Florida — N. C. R. 

A boat ride on one of the quiet streams of Florida — rare tropical 
scenes. 

Canada 

Amid Alpine Snows — Can. M. P. 

The Alpine Club of Canada climbing Mt. Robson, the highest peak of 
the Canadian Rockies — 1H68 feet above the snow. 

Athabaska Trail, The — Can. M. P. 

Sir Arthur Conan Doyle's poem picturized — sub-titles are illustrated 
by beautiful and authentic views along the famous trail. 

Algonquin Park — Land of 1000 Lakes — X. C. R. 

A scenic travelogue of the Ontario Provincial Park. 

Camp Fires Among Snow Peaks — N. C. R. 

Up the Bow Valley into Yoho and finally into Wilcox Pass, showing 
how Alpinists at the top of the world made this ascent into territory 
hitherto unexplored. 

Canada's Mountain of Tears — N. C. R. 

The ascent of Mt. Edith Cavell, named in honor of England's martyred 
nurse. The snowy peak, glaciers of ice, the massive pine and spruce 
trees casting their shadows, make this a fitting monument. 

Canada's New Highways — N. C. R. 

An argument for good roads with detailed scenes of modern road con- 
struction. 



LIST OF EDUCATIONAL FILMS 



273 



Canada's Metropolis, Montreal — N. C. B. 
A travelogue of the city of Montreal — beautiful and historical. 

Canada's Farthest North City — Edmunton — A T . C. R. 

Scenes in the provincial capital of Alberta. 

Cape Breton, Random Glimpses of — A 7 . C. B. 

A little-known beauty spot, full of historic association — scenes in the 
rugged northern section of the island around Ingonish and the beauti- 
ful Bras d'Or Lake district. 

Digging Up the Past — Can. M. P. 

The badlands of the Red Deer Valley, Alberta, the most prolific field 
in the world for Palaeontological research — how dinosaurs are located 
and secured — assembling the fossilized bones of prehistoric monsters at 
the Royal Victoria Museum, Ottawa. 

Down North — Mackenzie River District — N. C. B. 

The first motion picture ever made of the great Mackenzie River 
district. 

Fishin' Time — Nipigon River — N. C. B. 

The piscatorial art on the picturesque Nipigon River, noted for its 
scenic beauty. 

Fishing Parson, The — Can. M. P. 

The parson's fishing expedition — trip up the river — the catch — the 
return. 

Four Days Open Sea — Can. M. P. 

A transatlantic voyage from Quebec to Liverpool — scenes on board — 
the boiler room — the gymnasium — entertainment and amusements — sub- 
marine tennis and shuffle board — care for the kiddies — nearing Liverpool. 

Fresh from the Deep — Can. M. P. 

Showing the methods of catching halibut along the coast of British 
Columbia and Alaska — preparation of the fish at Prince Rupert, B. C, 
for shipment. 

Farming and Asbestos Mining in Canada — N. C. B. 

Fox fur farming — fur traders — Hudson Bay — cattle in Western 
Canada — cowboys riding and <r busting" bronchos — irrigation dam at Bas- 
saco — irrigation of three million acres with five thousand miles of 
canals — asbestos mine at Thetford, Quebec. 



274 MOTION PICTURES FOR INSTRUCTION 



Frontiers of the North — From Quebec to Baffin Land, 
Part 1—Can. M. P. 
Dealing with the Canadian Government Arctic Expedition of 1922; 
included are views of the departure from Quebec, voyage through the 
northern ice floes, a polar bear hunt, killing an Arctic seal, typical 
Arctic scenery, and the Eskimos of Baffin Land. 

Glimpses of Canada — N. C. R. 

The St. John River — early French settlers — Corpus Christi festival — 
the Douklhbars or "Spirit Wrestlers." 

Gentlemen Cadets (Kingston) — N. C. R. 

Life and training at the Royal Military College at Kingston, On- 
tario. 

Getting Canada's Goat — Can. M. P. . . . 

Canada's wild goats, the sure-footed inhabitants of the Rockies — a trip 
up the mountain — the art of bread-making — sleeping bags — shooting a 
big one — bagging a mountain sheep on the Panther. 

Gems of the Rockies (Jasper Park) — N. C. R. 

The world's largest scenic playground, Jasper National Park, with its 
wonderful mountain scenery. 

Glimpses of Toronto — A 7 . C. R. 

Dealing with the most interesting features of Canada's second great- 
est city, including views of the new harbour improvements and the 
Canadian National Exhibition. 

Great Lakes Eomance — Can. M. P. 

A little story of a boat trip through the upper Great Lakes — views 
of Windsor, Sarnia, Sault Ste. Marie, Ontario, Port Arthur, Kakabeka 
Falls, and St. Mary River. 

How Salmon are Caught — Can. M. P. 

One of the films descriptive of Canada's extensive fisheries, and de- 
picting the methods used in British Columbia coastal fisheries. 

In the Wake of Capt. Cook — Can. M. P. 

An airplane trip to Nootka Sound on the northern Pacific coast of 
Canada, showing its inhabitants and the many queer features of life in a 
quaint Indian fishing village — totem poles, images, etc. 



LIST OF EDUCATIONAL FILMS 



275 



In Old French Canada — Can. M. P. 

The land of homespuns — hand weaving — Beaupre and the Shrine of 
St. Anne — walls of Quebec — Chateau Frontenac — Plains of Abraham — 
Montmorency Falls. 

Lake of Hanging Glaciers — Can. M. P. 

Excellent views of the glacier and other scenes along a pack trail in 
British Columbia — 7000 feet up in the Canadian Selkirk Range — • 
Glacial Cave, the source of the Columbia River. 

Lake Louise — The Most Picturesque Spot in North Amer- 
ica— Can. M. P. 

A beautiful scenic film showing the magic wonders of Lake Louise and 
vicinity. 

Last of the Bison, The — Can. M. P. 

The famous buffalo reservation at Wainwright, Alberta, showing an 
interesting experiment in buffalo-cattle breeding, whereby an entirely 
new domestic animal has been evolved. 

Leaves from a Ranger's Notebook — Can. M. P. 

The experiences of a Rocky Mountain Ranger in picturesque Jasper 
National Park. 

MONARCHS OF THE PLAIN — Can. M. P. 

A film visit to the Buffalo Park, Wainwright, Alberta, where the once 
nearly extinct buffalo, as well as yak, elk, and other wild life, still 
exist under government protection. 

MOOSEBACK ON THE MlRAMCHI — Can. M. P. 

Moose hunting in the vicinity of Lake Carson in New Brunswick — 
unusual photography showing the moose in their native haunts — the ex- 
citing sport of riding on the back of a moose. 

Motoring in Cloudland — Can. M. P. 

A view of the Banff- Windermere highway, completing the link of the 
world's greatest motor route — the 4200-mile Grand Circle Tour of 
Canada and the United States. Glimpses of magnificent scenery and the 
wild life of the National Parks near Banff, Alberta. 

Mountaineering Memories — Can. M. P. 

A trip from Banff to Mount Assiniboine — Canadian Rocky Mountain 
scenery. 



276 MOTION PICTURES FOR INSTRUCTION 



Nature's Echo — N. C. R. 

■Scenes of nature's masterpieces in the Canadian Rockies; Clear lakcn 
reflecting the surrounding mountains — tumbling streams and water- 
falls — winding paths and deep ravines — herds of roaming caribou and 
mountain goats. 

On the Skeena River, Murray — N. C. R. 

Salmon fisheries on the world's greatest salmon stream. One of the 
films descriptive of Canada's extensive fisheries — methods of catching 
and preparation of the fish. 

Queen of the Coast — Vancouver, B. C. — N. C. R. 

Scenes in Vancouver, B. C, and its environs. One of the most beauti- 
ful scenics ever produced. 

Party on the Roof of the World — Can. M. P. 

Up Mt. Assiniboine — preparing for the climb — wonderful scenes on 
the way and from the mountain top — return to camp. 

Play Day at Banff — Can. M. P. 

Banff National Park — swimming — carnival — races — mountain - 
climbing — the Red Men at Banff. 

Playground of a Continent — Can. M. P. 

The Muskoka Lakes region of Ontario, the noted summer resort 
district. 

Pole Pushers of Puget Sound — Can. M. P. 

Views of labor and scenery in the northwest cedar industry. 

Policing the Arctic — Can. M. P. Part 2 of Frontiers of 
the North. 

Dealing with the Canadian Government Arctic Expedition of 1922 — 
Canada's most northerly white settlement at Craig Harbour, Ellesmere 
Island- — interesting glimpses of Eskimo life in this region. 

Region of Romance (Lake of Bays District) — N. C. R. 

A film of the scenic beauties of water and land. 

Sugar Maple Tree Harvest — JV. C. R. 

Life in the sugar bush — old andcl new methods of tapping maple trees 
■ — gathering sap — transporting it to the kettles — finally a real old- 
fashioned sugar -bush party. 



LIST OF EDUCATIONAL FILMS 



277 



Story of a Can of Salmon — Can. M. P. 

Depicting in an interesting and non-technical manner how salmon 
is canned in the great canneries of British Columbia — every step in the 
process from delivering the catch of the cannery to the completed 
product is graphically shown. 

Student Life in Canada — Can. M. P. 

McGill University at Montreal — McDonnell Engineering Building — 
student dental clinic — testing cable — college blacksmith and mining 
students — "Liquid Air" in physics laboratory — Royal Victoria College 
and the training of the maids of Canada. 

Thoroughbreds (Horses) — N. C. B. 

Horse breeding in Canada, including beautiful scenes of the upper 
Gatineau Lake District of Quebec; an exciting point to point race. 

Through the Norway of America — Can. M. P. 

A trip on a Grand Trunk Pacific steamer from Vancouver to Prince 
Rupert. 

Top o 'World— Can. M. P. 

The Jasper Park region in the vicinity of Mount Robson. 

Trail Riders of the Canadian Rockies— Can. M. P. 

A horseback expedition over the Wolverine Pass — the Kootenay River 
— Mount Goodsir — Tumbling Glacier — Moose Creek — Lake McArthur 
— Lake O'Hara. 

Valley of 100 Peaks — Jasper Park — N. C. B. 

Jasper Park in the Canadian Rockies — one of the National Parks 
of the Dominion. 

Water Powers of Canada — N. C. B. 

Detailed views of the city of Winnipeg and the future water-power 
possibilities on the streams of this vicinity. 

Where the Moose Run Loose — Can. M. P. 

Some extraordinary action pictures of moose in New Brunswick. 

Where Salmon Leap — Can. M. P. 

Salmon fishing — a trip up the famous Restigouche River in northern 
New Brunswick — a splendid sporting picture. 



278 MOTION PICTURES FOR INSTRUCTION 
Wild Westing De Luxe — Can. M. P. 

Ranch life, work and play — the coral — broncho busting — tricks with 
the lasso — trout fishing and other recreations. 

With Gun and Dog— N. C. B. 

The experiences of a party of sportsmen on a deer-hunting trip in 
the Laurentian hill district adjacent to the city of Ottawa. 

With Rod and Fly — N. C. R. 

Of interest to followers of Izaak Walton — a somewhat humorous 
depiction of the experiences of a party of fishing enthusiasts on one 
of the lakes in the Upper Gatineau River district. 

Where Beautt Dwells — N. C. R. 

Scenes in Jasper National Park — the famous Maligne Trail — Medicine 
Lake — and Maligne Lake. One of the most wonderful parks in the 
Canadian Rockies. 

Central America 

Between Friends — Mexico and Texas — N. C. R, 

Views of industrial and historical places in El Paso, Texas — the In- 
ternational Bridge into Mexico — customs house and old historical build- 
ings of Juarez. 

Mexico, Central America and Panama — N. C. R. 

A garden near the city of Mexico — Guadalupe Hidalgo, Central Amer- 
ica — Balsam wood — the River Dulse — the City of Panama — the Bull Ring. 

SOUTH AMERICA 
Lima, Peru — N. C. R. 

Views of the city of Lima, the capital — the convent of St. Theresa — 
the St. Augustine convent — the Peruvian House of Congress. 

Rio, the Beautiful — TJ. 8. Navy Department, Washington, 
2>. C. 

Beauty and progress in Rio de Janiero. 

WEST INDIES 

Atlantic Fleet in the "West Indies — TJ. 8. Navy. 
A tour of the West Indies with the ships of Uncle Sam. 



LIST OF EDUCATIONAL FILMS 



279 



Bermuda — N. C. B. 

Hamilton, the capital city — the Devil's Hole — the home of Tom 
Moore, the Irish poet — St. George, the oldest settlement of Bermuda— 
a yachting regatta. 

Nassau— iV. C. B. 

Interesting scenes of the buildings, inhabitants, and historical places 
of this city in the Bahama Islands. 

Trip to the West Indies, A — X. C. B. 

St. Croix — Porto Rico — Roseau, capital of Dominico — Bridgetown — 
the Windward Islands — the sugar industry. 

OTHER ISLANDS 
Land of the Ukulele — Hawaii — N. C. B. 

Ocean trip to the crossroads of the Pacific, Hawaii — places of beauty 
and interest in and around the city of Honolulu. 

EUROPE 

Austria — N. C. B. 

Budapest, the twin city on both banks of the Danube — public buildings 
— mineral springs and baths — Stalzberg, the Alpine mountain city — a 
party of hikers in the Alps — a holiday festival. 

Bavaria — N. C. R. 

Stromberg Lake and the mountain country — a winter festival — curling 
— ski jumping, and running. 

Brittany and the Mediterranean Coast of France — 
N. C. B. 

Scenes in Brittany; charming old towns along the Mediterranean coast. 

Carrying Old Glory to the Seven Seas — Department of 

Instruction, University of California, Berkeley, Calif. 
A comparison of a modern steamer with Fulton's first boat, the 
Clermont — the great progress American shipping has made since the 
day of that invention and the impetus given our commerce by the war. 

Emerald Isle, The — N. C. B. 

Kural scenes in southern Ireland; castles and lakes — Blarney Castle 



280 MOTION PICTURES FOR INSTRUCTION 



— the ancient custom of kissing the Blarney Stone — the Lakes of Kil- 
larney; a rural Irish funeral. 

Ireland — The Isle of Man — A 7 . C. R. 

The northwest coast of Ireland — the fishing industry — digging peat. 

Paris — A 7 . C. R. 

Buildings — palaces — churches — monuments — bridges — boulevards — gar- 
dens — parks — the arch of triumph — the River Seine — the Cathedral of 
Notre Dame. 

Paris and Alsace-Lorraine — A T . C. R. 

The Montmatre section of Paris — Strassburg, the capital of Alsace- 
Lorraine. 

Rome, Venice and Vesuvious — A 7 . C. R. 

Verona and Pisa — the famous leaning tower — Naples and Vesuvius — 
Rome — St. Peter's — the Castle of St. Angelo — the Coliseum — Venice — 
the Grand Canal — the Rialto Bridge — St. Marks Cathedral — the Bridge 
of Sighs. 

Scotland and Wales — N. C. R. 

The River Dee — the world's longest span bridge — farming in Scot- 
land — the canals of Scotland — the beach in Wales. 

Tivoli and Sicily — A 7 . C. R. 

The famous Carrara Marble Quarries — Tivoli, one of the most fas- 
cinating Italian towns — Sicily, the gem of the Mediterranean — ancient 
ruins at Syracuse. 

Tuscany and Lake Como — A 7 . C. R. 

Old towns and villages in the Province of Tuscany — Lake Como. 

Versailles — N. C. R. 

The royal dwelling-place of the French kings — the palace — the gardens 
and fountains — the magnificent palace was the scene of the peace treaty 
after the World War. 

Village Life in Switzerland — A 7 . C. R. 

Appenzell, the old town in the mountains of Switzerland — primitive 
lace-making — the lakes — mountain towns built on the side of cliffs. 



LIST OF EDUCATIONAL FILMS 



281 



Whi*n Winter Comes in Norway and Russia — N. C. R. 

Ice boats — winter scenery in Norway — home life in winter — the ice 
harvest — soldiers on skiis — North Russia — the midnight sun. 

ASIA 

Cairo and Jerusalem — N. C. R. 

The streets of Cairo — drill of the fire fighters — the Nile — ancient 
tombs of the Egyptian rulers — the Sphinx and the Pyramids — the 
Sahara Desert — Jerusalem as it appears today. 

Cherry Blossom Time (Japan) — N. C. R. 

The great annual festival — decorated cities — processions carrying the 
great dragon to dispel evil — picturesque scenes and crowds — the Geisha 
Girls entertaining the revelers. 

Floating Cities of China — X. C. R. 

Hankow on the Yangtsze Kiang River — thousands of floating homes 
on the river — Canton river life — the Samoan Islands — native huts — 
water sports — the cocoanut industry. 

Glimpses of India — N. C. R. 

The Ganges River — the Nautch Dancers — bathing festival among the 
Hindus. 

Japanese Festivals — N. C. R. 

Streets of Yokohama — public parks and playgrounds — the Kite 
Festival — the Rice Festival — the Acrobatic Open Air Festival. 

Korea— N. C. R. 

Sondo, the one-time capital — scenes of the natives — the fishing col- 
onies — a Korean wedding — raising ginseng — the Temple of Heaven — the 
rice industry. 

Native Scenes in Japan — N. C. R. 

Peculiar traffic regulations — home life of natives — the Temples of 
Mizusawa — a visit to the Japanese warship Izuma. 

Temple Bells and Wayside Shrines (Japan) — A 7 . C. R. 

Tokio, Japan — Temple of Asakusa — a water festival — the temple at 
Nara — the sacred deer — the festival of Gion — the pilgrimage to Mt. 
Fuji — the great Bronze Buddha. 



282 MOTION PICTURES FOR INSTRUCTION 



Types of Natives of India — A T . C. B. 

Natives at work on Ceylon tea plantations — Kandy — the rickshaw men 
— native troops. 

AFRICA 
Northern Africa — N. C. B. 

Morocco — quaint old villages — native types — Moorish palaces — 
Algiers, capital and chief port — Tunis — native life. 

Old and Modern Devices — Egypt to Now — N. C. B. 

Slot machines originated in Egypt over 2000 years ago — progress of 
means of private transportation, from phaeton to motorcar, from high 
bicycle to motorcycle. 

Morocco — N. C. B. 

Fez, the capital city — types of natives — street scenes; primitive ir- 
rigation. 

History — United States 

A Pilgrimage (New England) — A T . C. B. 

A visit to Plymouth, Newport and Provincetown — interesting and his- 
torical places — Plymouth Rock — Pilgrim Hall — home of John Winslow 
— the first street in New England — Pilgrim's Monument. 

Old Santa Fe— U. S. Ag. 

The gateway to the Santa Fe National Forest — points of historic in- 
terest in Old Santa Fe. 

Old New England — N. C. B. 

Old New England with its quaint villages and cities — beautiful land- 
scapes and old battlefields — points of interest in Boston. 

Patriotic Service — At Patterson School, Dayton, Ohio. 
3 reels — N. C. B. 
The pageant as given for a number of years in the school auditorium 
— a beautiful, patriotic, historical pageant in costume — the titles present 
the words of the songs and the dialogue — considered one of the best 
pageants ever produced in a public school. 



LIST OF EDUCATIONAL FILMS 



283 



Queen of the Waves — 2 reels — G. E. 

Tells the story of American navigation from the time the primitive in- 
habitants paddled on logs or constructed crude rafts — a bark canoe — 
Christopher Columbus and the Santa Maria — Henry Hudson and the 
Half Moon — the treadmill-driven ferry and Robert Fulton's steam-driven 
Clermont — launching of the Queen of the Waves, the latest and great- 
est battleship. 

Wards of a Nation (Indians) — N. C. R. 

The Indians as wards of the United States — looking after their spirit- 
ual, as well as mental and physical welfare. This film gives a good 
idea of what our government is doing to make them desirable citizens. 

Nature Study — Zoology 

Alligator Hunt, An — N. (7. R. 

The haunts of the alligator in the Everglades, west from Palm Beach 
— the finding of a nest of alligator eggs — a thrilling fight with and 
capture of a large alligator. 

Aristocracy — (Birds) — 4 reels — N. C. R. 

Many species of the feathered tribe — parent birds and young. Great 
patience and care were exercised to obtain these intimate and natural 
studies. 

Bird City, A — Dominion Parks Branch ; Department of the 
Interior, Canada. 
A novel bird film taken at the bird sanctuary near Moose Jaw, Sask. 
The gull, heron, tern, and many other birds are shown in their every- 
day life, nesting, mating, swimming, and flying. 

Circus Day— N. C. B. 

An interesting depiction of circus life — unloading of the circus — 
pitching of tents — the parade and clowns. 

Cincinnati Zoo — 3 reels — N. C. R. 

An exceedingly interesting and educational film on animals — shows a 
great many of the more unusual animals and their habits. 

God's Handiwork — N. C. R. 

Visitors leaving a mountain inn on horses — beautiful views of moun- 



284 



MOTION PICTURES FOR INSTRUCTION 



tain forests, lakes, ravines, cataracts — large herds of caribou — the 
marvelous leaps of the mountain goats. 

Harvest of the Sea— r. M. C. A. 

An informative study of the salmon fishing industry, including the 

catch and the canning. 

How Plants are Born, Live and Die — i\ r . C. R. 

In twelve minutes we see plants grow from the seed to their full 
bloom, then wither and die. It took many days to make these pictures 
of this slow and gradual process. 

Keeping Bees at Work — U. S. A. 

Improved methods of bee management — how to control diseases of the 

brood — a technical picture for bee-keepers. 

Leather Tread, The — International Shoe Co., 1619 Washing- 
ton Ave., St. Louis, Mo. 

Processes in the manufacture of a shoe from the tanning of the hides 
to the display of the finished product. 

Little Drops of Water — X. C. R. 

A microscopic study of the contents of a drop of water, showing clearly 
the bacteria. The latter portion of the reel contains other scientific 
experiments. 

Make More from Your Poultry — International Harvester 
Co., Extension Department, 616 S. Michigan Ave., Chi- 
cago, III. 

A popular and scientific study of poultry production from the stand- 
point of profit to the small producer. 

Milk — Carnation Milk Co., Oconomowoc, Wis. 

A preliminary discussion of the food value of milk — the cattle are 
shown in the pasture and in modern barns — milk undergoing the 
processes of evaporation, canning, sterilizing, and shipping. Animated 
diagrams play a large part in this picture and add to its interest and 
educational value. 

Starting Life — N. C. R. 

Quaint study of the young animals, including sheep, turkeys, 

pheasants, rabbits, kangaroos, etc. 



LIST OF EDUCATIONAL FILMS 



285 



What a Careless Hunter Can Do — U. S. Ag. 

A forest fire is started by a careless hunter — methods of government 
lire lighters — the destruction of a town by the fire. 

Language and Literature 

John Greenleaf Whittier — N. C. R. 

His birthplace at Haverhill, Massachusetts — his home at Amesbury — 
the poem of "The Barefoot Boy"' illustrated — the poem "Maud Muller." 

Henry Wads worth Longfellow — N. C. R. 

His birthplace at Portland, Maine — his home at Cambridge, Mas- 
sachusetts— "The Village Blacksmith" illustrated— "The Psalm of Life." 

Vocational Studies 

DOMESTIC SCIENCE 

Apple of New England, The — National Motion Picture 

Bureau, Bedford, Mass. 
Covers a number of subjects, including the grafting and raising of 
apple trees. 

Apples and Granite — N. C. R. 

The apple industry and granite quarries of New England. The coast 
at Narragansett, R. I. — a trip with a haddock fishboat — a granite 
quarry in Vermont — apple-picking time. 

Apple and Fish Industries — N. C. R. 

The Apple and Fish Industries of Oregon. Shooting the rapids by 
barge — the apple industry — the opening of the salmon season — the 
Bonnerville fish hatchery — fishing for smelt. 

Baking Better Bread — Washburn Crosby Co., Minneapolis, 
Minn. 

For the housewife to further better bread-baking — also of general in- 
terest. 

Bakery and Candy — N. C. R. 

A pretzel factory — making confection cakes by machinery — whole- 
wheat bread — candy made from cactus plants. 



286 MOTION PICTURES FOR INSTRUCTION 



Beets from Seed to Sugar Bowl — U. S. Ag. 

Various steps in the culture of sugar beets from the pre-planting 
preparations of the soil to the harvesting of the beets — process of manu- 
facture of beet sugar. 

Behind the Breakfast Plate — U. S. Ag. 

The complete story of the preparation of bacon by modern methods — 
curing of bacon by early colonial methods — evolution of the hog busi- 
ness. 

Bubbles — Manufacturing of Soap — N n C. B. 

The processes and automatic machines used in the manufacture of 
toilet and laundry soap. 

Better Way of Milking — DeLaval Separator Co., 1709 Hey- 
worth Bldg., Chicago, III. 

Gland action and formation of milk in the cow's udder — operation of 
a milking machine shown in detail by animated technical diagrams — 
comparison of hand and machine methods of milking. 

Canning by the Cold Pack Method — International Har- 
vester Co., 606 S. Michigan Ave., Chicago, III. 
Describing the cold pack process of preserving fruits, vegetables, and 
meats. 

Cheese Manufacture — Armour & Company, Union Stock 
Yards, Chicago, III. 

The cheese industry from source through manufacture to shipment. 
The food value of cheese is carefully explained and the picture as a 
whole is of considerable educational value. 

Citrous Fruits and Fruit Drops — Y. M. C. A. 

Contains some especially attractive scenes in color — the growing of 
orange and lemon trees — irrigation of the orchards — other views of the 
cultivation and shipping of the fruit — a Beechnut educational produc- 
tion with very little advertising. 

Concerning Cheese— Armour & Company; Union Stock 
Yards, Chicago, III. 

Complete process of manufacture of cheese, with close-up scenes show- 
ing each operation — world's largest cheese factory — palatable dishes from 
cheese. 



LIST OF EDUCATIONAL FILMS 



287 



Cranberries — TJ. 8. Ag. 

The culture of cranberries and how to overcome the disease that makes 
them bitter — the Puritans receiving the berries from the Indians. 

Cured by Canning — TJ. S. Ag. 

A Middle West rural community is cured of illness and idleness by 
the first mother-daughter canning club, which preserved and canned 
foods formerly wasted. 

Dates, America's Newest Crop — TJ. 8. Ag. 

How date gardens have been made of the Southwestern desert land by 
means of irrigation — scientific methods and management — date culture 
and insect control — the government assistance furnished the new in- 
dustry. 

'Dates from the Garden of Eden — Hill Bros. Co., Hill & 
Washington Sts., New York City. 
Views of the probable geographical location of the Garden of Eden 
at the junction of the Tigris and Euphrates Rivers — date growing as 
carried on in this famous valley in Mesopotamia is exhibited — the 
"Muharram," picturesque procession of the Mohammedans, is included 
in the reel — the packing and shipping of dates — a definitely educational 
subject. 

Drying Fruits and Vegetables in the Home — TJ. S. Ag. 

Methods of drying, packing, conditioning, and labeling tomatoes, car- 
rots, and other root vegetables, corn, berries, and apples — types of 
driers — a luncheon of dried foods which was attended by the wives of 
cabinet officers. 

Etiquette — In Public Places and the Home — N. C. B. 

Of general interest and for domestic science classes. 

Etiquette — Table Manners — N. C. R. 

Of general interest and for domestic science classes. 

Food for Reflection — 2 reels — TJ. 8. Ag. 

Based on the idea that "children are the best crop the farm produces" 
— how the women of the community met the need for a hot school lunch 
at Pleasant View — raising the money and installation of equipment — 
beneficial results of the hot lunch for school children — weighing and 
measuring demonstrations. 



288 MOTION PICTURES FOR INSTRUCTION 



Fresh Fish — Can It — y 2 reel — V. 8. Ag. 

Freshly caught fish are canned in a steam-pressure cooker on the 
banks of the stream — taking the canner to the fish is the best method. 

Golden Gift, The — Oranges — Leggett. 

The old legend of the fleet-footed Grecian Maiden, Atalanta, and the 
Golden Apples, serves as an introduction to the story of the orange in- 
dustry of California. This is a Castle colored film. 

Household Hints — N. C. R. 

Preparing a boiled dinner — a new kind of milk bottle — an ostrich egg 
omelet — how to economize on coal. Of interest to housewives and others. 

History of Spice — Leggett. 

Showing the importance of spice in the development of the old trade 
routes and the discovery of new countries. 

In for a Raise — Baking Powder and Macaroni — X. C. R. 

The manufacture of baking powder and macaroni. 

Keeping out Bad Food — X. C. R. or U. S. Ag. 

Inspection of imported food products under the food and drugs act to 
protect Americans from fraudulent and unwholesome articles — inspec- 
tions of tea. 

Matter of Form — V. 8. Ag. 

The assistance the home demonstration agent gives the farm women in 
doing their own sewing — another of the Government's films on the 
Pleasant View community. 

Milk, Nature's Perfect Food — International Harvester Co., 
606 S. Michigan Ave., Chicago, III. 
One of the best reels to show the value of milk as a healthful food 
— approved methods of sterilizing — storing and shipping milk. 

New England Clambake and County Fair — A T . C. R. 

Catching herrings by the thousand — a New England Clambake — the 
County Fair — views of the Sunken Gardens at Bridgeport, Conn. 

Our Dally Bread — G. E. 

The evolution of our wheat industry — the development of the ma- 
chinery of harvesting, threshing, milling and baking. Begins in each 



LIST OF EDUCATIONAL FILMS 



289 



case with the primitive and concludes with the most modern apparatus 
in use. 

Pearl Buttons and Ivory — A 7 . C. B. 

The manufacture of ivory articles from elephant tusks — the produc- 
tion of celluloid buttons: from sea shells to pearl buttons. 

Peanuts — Leggett. 

The peanut crop in Virginia and the Carolinas — the special methods 
used in planting, harvesting, and delivering this interesting product. 

Please Pass the Cranberries — Atlantic Film Co., 727 A 
Boyhton St., Boston, Mass. 
The world's greatest cranberry bogs — preparation of the soil — setting 
the vines — irrigating and pruning — after four years the first crop is 
ready — harvesting — screening and sorting — the finest berries for the 
table. 

Playthings of Childhood — N. C. B. 

This interesting film shows the making and dressing of dolls, the 
manufacture of toy pianos and other toys. 

Rice Industry — Harcol Motion Picture Industries, Inc., New 
Orleans, La. 

Planting of rice — flooding of field — young growth — cutting, shocking, 
threshing — hulling and polishing processes — the master recipe for cook- 
ing rice. 

Romance of the Lemon — California Fruit Growers Ex- 
change, Advertising Dept., Los Angeles, Cal. 

A reel produced by the California Fruit Growers Exchange, show- 
ing the beautiful lemon tree groves in California, with methods of 
cultivation, harvesting, and shipment. 

Secret of Sunshine — Loose Wiles Biscuit Co., 811 Com- 
merce Bldg., Kansas City, Mo. 
Processes of manufacture of fancy and wholesale cookies and small 
cakes. Close-ups show each operation. 

Sir Lacteus — Good Milk Knight — 2 reels — U. S. Ag. 

A fanciful story to impress upon children the importance of milk in 



290 MOTION PICTURES FOR INSTRUCTION 



the diet. Sir Lacteus and his assistants battle with Sir Disease for a 
little girl whom the latter has kidnapped. 

Story of the Pure Food, The — Armour & Company, Union 
Stock Yards, Chicago, III. 
Process of manufacture of oleomargarine. 

Talk of the Town, The — Worcester Baking Co., Mason 
St., W or Chester, Mass. 

(Designed for local distribution only. Special arrangement will be 
necesssary for outside circulation.) One of the best presentations of 
the technic of the modern bakery. The attempt to interweave a love 
story does not help the film for classroom presentation. 

Swiss Cheese — Made in America — U. S. Ag. 

Grove City Pennsylvania Creamery, which is operated by the Gov- 
ernment — processes of making cheese which was formerly largely im- 
ported. 

To a Queen 'a Taste — Candy Factory — N. C. R. 

The manufacture of several different kinds of candy is shown in an 
interesting manner, and the reel closes with the making of a candy 
basket with floral decorations. 

WlCKERWARE — N. C. R. 

The interesting processes in the manufacture of wicker furniture are 
shown from beginning to end. 



AGRICULTURE 
Apples and the County Agent — U. S. Ag. 

The agricultural extension service introduces modern methods in the 
production and marketing of apples, thereby helping an unsuccessful 
farmer to become progressive and prosperous. 

Alfalfa Weevil Control — U. S. Ag. 

The great national value of alfalfa and the tremendous loss through 
the alfalfa weevil in some of the Western States. Methods of control. 



LIST OF EDUCATIONAL FILMS 291 



Agriculture — Broom Corn, Onions, Hops, Artichokes and 
Almonds — A 7 . C. R. 

Making brooms — an onion farm in New Jersey — hop gardens in Hol- 
land — the artichoke from field to table — almonds from tree to nut 
sundae. 

Banana, The— .V. C. R. 

The banana plantations in Jamaica — bringing in the fruit — loading 
the vessel — the unloading and distribution in an American port. 

Barbarous Barberry — 1 reel — V. 8. Ag. 

An animated cartoon showing the common barberry, the cause of 
wheat rust — science magnifies the rust germs and explains cause and 
effect. Of special interest in wheat-growing districts. 

Battle Against Black Stem Rust, The — Conference for 
the Prevention of Grain Rust, 150 Knight Building, 
Minneapolis, Minn. 

The origin of black stem rust, the terror of the grain fields, on the 
common barberry bush — microscopic views of the germ at work — United 
States assistance in eradicating the barberry by poisoning and up- 
rooting — experiment with rust-proof wheat. 

Hog Breeds and Hog Management — XI. 8. Ag. 

Examples of hog aristocracy in the United States, with scenes show- 
ing the extent of the swine industry. 

Bunch of Sheep on Every Farm, A — International Har- 
vester Co., 606 S. Michigan Ave., Chicago, III. 

A clear and vivid picturization of the sheep industry from grazing in 
the pasture to the finished wool product — excellent suggestions regard- 
ing the care of sheep and handling of the wool. 

Charge of the Tick Brigade — % reel — U. 8. Ag. 

An animated cartoon, in which the ticks thank cattle owners for their 
neglect of cattle dipping — scenes of cattle attacked by the fever tick — 
the resultant mortalities. Of interest to cattle owners, especially in the 
south. 

Club Champions at Camp Vail — U. 8. Ag. 

A day at a Boys' and Girls' Club encampment held in connection with 
an interstate fair, featuring exhibits, demonstrations and judging con- 
tests. 



292 MOTION PICTURES FOR INSTRUCTION 



Construction of a Concrete Silo — U. 8. Ag. 

Showing the various steps in the building of a concrete silo,, outlining 
the practicability of building a concrete silo with the labor available on 
the farm. 

Co-operative Marketing — Tobacco — 2 reels — V. S. Ag. 

Photographed in North Carolina, Virginia, and Kentucky, outlining 
the methods followed by co-operative marketing associations. 

Cotton Ginning and Marketing — U. 8. Ag. 

Delivering the seed cotton at the gin — the processes of ginning — prep- 
aration for the mill — baling — grades and types of cotton and bales. 

Cotton — Dixie's Greatest Crop — U. S. Ag. 

The new era in cotton production — pre-planting preparations — plant- 
ing — cultivation — picking and delivering at the gin — problems of the 
modern cotton grower, including the boll-weevil. 

Cotton's Worst Enemy, the Pink BollAYorm — U. 8L Ag. 

10,000 infested areas in Texas are cleaned, under the direction of the 
Federal Horticultural Board — sweeping of fields and burning of plants — 
the fumigation of imported cotton — the difference between the pink boll- 
worm and the boll-weevil. 

Dangerous Invaders — Gypsy and Brown-Tail Moths — 
77. S. Ag. 

This reel tells how the gypsy ond brown-tail Moths gained a foot- 
hold in New England — the damage they do to trees — methods to control 
them as used in the fight by the Federal and state authorities. 

Dynamite — Concentrated Power — 77. S. Ag. 

Farm uses of dynamite in blowing out stumps, breaking and removing 
boulders, and blasting ditches. The proper methods for its use and pre- 
cautions to be taken against accidents. 

Farm Inconveniences — International Harvester Co., 606 8. 
Michigan Ave., Chicago, III 
Pictures in an interesting way the result of carelessness on the farm. 

Fighting Western Pine Beetles — V. S. Ag. 

The devastation of great forests by these insects as compared with loss 



LIST OF EDUCATIONAL FILMS 



293 



by forest fires — how they destroy valuable timber — methods of control 
recommended by government entomologists. 

Forests Green or Gray— TJ. 8. Ag. 

The uses of the national forests for the present and future genera- 
tions — how campers, hikers, tourists can protect them from destruction 
by fire. 

Helping Negroes Farm — 2 reels — TJ. S. Ag. 

Showing the beginning of the work of the agricultural extension 
service among the negro farmers of the South and their families, bene- 
fits effected, and operation today. 

High Steppers — Horses — TJ. S. Ag. 

Types of light horses for saddle and driving, that won prizes at a 
horse show in an Eastern city. 

Horn Flies, Pests of Cattle — TJ. 8. Ag. 

Means of preventing the breeding of horn flies, thereby reducing the 
harm done by their attacks on cattle — methods of control used in the 
southwestern states. 

How and Why of Spuds — TJ. 8. Ag. 

The production of the American potato, which is second only to 
wheat as a human food — modern methods and machinery in Aroostook 
County, Maine. 

How to Poison Boll- Weevils — TJ. S. Ag. 

A lecturer explains the proper methods of poisoning cotton to 
control the boll-weevil — various types of poisoning machinery — the 
calcium arsenate method — methods of application — tests of poisoning 
material. 

In the Wake of the Storm — International Harvester Co., 
606 8. Michigan Ave., Chicago, III. 
Scenes in Southern Illinois and Northern Indiana following the great 
tornado in March of 1925 — views of destroyed villages, orchards, farms 
— the wreckage of the coal mines, power lines, and means of communica- 
tion such as telegraph, telephone, and railroad — temporary hospitals 
and relief stations — beginning the work of reconstruction — rebuilding 
of the towns and cultivation on the farms. 



294 MOTION PICTURES FOR INSTRUCTION 



Johnathan Barr's Conversation — (Milk Testing) — Hol- 
stein-Frisicm Association, 230 E. Ohio & Homestead Films, 
7\32 8. Wabash., Chicago, III. 
An unusually good example of the use of the story method to present 
useful information — the operation of the Babcock milk test — the im- 
proved methods of milk weighing — the building up of high-grade herds 
through the use of pure-bred bulls — need and method of organization 
of cow-testing organizations. A nominal service charge is made for 
the use of this film. 

King Apple's Enemies — V. S. Ag. 

Insects and fungi that attack the "king of fruits" — their defeat 
through the use of various types of spraying and dusting apparatus. 

Lambs from Range to Market — 17. 8. Ag. 

Ewes and lambs grazing on national forests — lambs separated from 
ewes at the end of season and taking to feeding yards for fattening — 
fattening of lambs and loading for market. 

Land of Cotton — 2 reels — G. E. 

An unusually interesting story of a great industry from the planting 
of the seed to the finished cloth. The film was made at the largest cot- 
ton plantation, the largest cotton terminal and one of the largest textile 
mills in the world. 

Layers and Liars — Poultry — V. S. Ag. 

Again this department uses the story of the community of Pleasant 
View to teach its lesson — culling and other good poultry practices are 
explained — community canning of the culls. 

Making a Star-Ham — Armour & Company, Union Stock 

Yards, Chicago, III. 
In an interesting portrayal of the production of ham, this reel also 
shows the magnitude of the packing industry. 

Milk-Made Products — 2 reels — TJ. 8. Ag. 

Laboratory and factory means of making dairy products, as de- 
veloped by the Dairy Division of the Department of Agriculture. 

Out of the Shadows — 2 reels — U. 8. Ag. 

An unusually good argument for tested cattle is advanced in the 



LIST OF EDUCATIONAL FILMS 295 



story of the farmer whose daughter contracts tuberculosis from the 
milk of his tuberculous herd. 

Ox Warble, The— U. S. Ag. 

The government service is called upon to assist in the extermination 
of the ox warble which has cut down milk production — methods used 
in combating this pest of American cattle. 

Pines That Come Back — V. S. Ag. 

How timber can be made a profitable crop on ground unfit for other 
agricultural purposes — good forestry practices and uses of timber. 

Poor Mrs. Jones — 4 reels — U. 8. Ag. 

A short drama which outlines the advantages of country life as com- 
pared with that of the usual small city flat. 

Plant Disease, A, and How it Spreads. U. S. Ag. 

The microscope is used in this film in the study of rhubarb blight to 
show the workings of the minute organisms that cause plant diseases. 

Potatoes — Early and Late — U. 8. Ag. 

This film tells how the potato, which is commonly called "Irish," 
acquired this designation, although fE is entirely an American product 
and was unknown until the discovery of the Western Hemisphere — 
methods of cultivation and harvesting of early and late potatoes in the 
great potato districts in Virginia and New Jersey. 

Poultry Farming — N. C. R. 

This film deals with up-to-date poultry farming — trap-door nests — 
young chicks — fancy roosters — sending baby chicks by parcel post — 
duck farming by scientific methods — turkey farming. 

Poultry Pests, and Their Control — U. S. Ag. 

Showing poultry infested with mites, fowl ticks, chiggers, and poultry 
lice, and the approved methods of control. 

Power Behind the Orange — International Harvester Co., 
606 8. Michigan Ave., Chicago, III. 
A brief picture story of the orange during cultivation, irrigation, and 
fumigation — the ripened fruit and methods of shipment. 



296 MOTION PICTURES FOR INSTRUCTION 



Power Farmer, The — International Harvester Co., 606 S. 
Michigan Ave., Chicago, III. 
This reel deals with the question of # horse or gasoline power on the 
farm — a day in the field and barnyard with a modern tractor. 

Production's Pulse — U. 8. Ag., and International Harvester 
Co., 606 8. Michigan Ave., Chicago, III. 

A film of unusual interest showing how the Government crop reports 
are made by 215,000 crop reporters and how they are released to the 
public, placing the farmer on a par with the speculator in farm prod- 
ucts. The crop report is followed from the field to the newspaper. 

Profits From Cull Oranges and Lemons — 77. S. Ag. 

The former great loss to the citrous fruit industry from waste cull 
fruit — research work to develop uses for culls — the by-product plants, 
the balance wheel of the industry, to minimize the loss. 

Red Enemy — Fire — V. S. Ag. 

The story of a tree which after years of growth was destroyed by 
fire, caused by a careless rancher — a camping party trapped in the 
burning forest and their escape — lumbering, paper mills, and other in- 
dustries depending on our national forests — fire fighting and airplane 
fire patrol. 

Safeguarding Citrous Fruits — V. S. Ag. 

Fumigation of citrous fruit trees in southern California — methods 
used in preventing damage to orange and lemon trees. 

School Days — International Harvester Co., 606 8. Michigan 
Ave., Chicago, III. 

Story of modern rural education. 

Screw Worms — How to Fight Them — U. 8. Ag. 

Methods of fighting the screw worm fly as used in the southwestern 
states. 

Selecting a Laying Hen — U. 8. Ag. 

Culling the flock — physical characteristics by which the good egg 
producer can be recognized. 

Stable Flies — 77. S. Ag. 

The story of the harmful and annoying insect which appears in many 



LIST OF EDUCATIONAL FILMS 



297 



parts of the United States — methods of protecting animals from them 
and prevention of their breeding. 

Story of White Pine, The — U. S. Ag. 

Eastern white pine from virgin forest to finished products — second 
growth — nursery planting — the European disease, white pine blister rust. 

Strawberries from Field to Shortcake — U. S. Ag. 

Cultivation of the plants — picking, sorting, and methods of handling 
from field to market. 

Sugar Cane and Cane Sugar — V. S. Ag. 

Cultivation and harvesting of sugar cane in the South — hauling to the 
factory — various operations in the manufacture and refinement of sugar. 

Sugar Trail, The— G. E. 

This film shows the wild beet and the methods used to bring it under 
cultivation — the modern methods of growth, harvesting, and manu- 
facture into sugar. 

Sweet Potatoes from Seed to Storage — U. 8. Ag. 

Approved methods, as recommended by the Government, for the 
cultivation of the sweet potato and necessary precautions against disease. 

Timberlust — Reforestation — N. C. E. 

The necessity of reforestation and methods in use at the present time 
— interesting scenes from a lumber camp. 

To Market, to Market — V. S. Ag. 

An argument for personal buying on the part of the housewife — types 
of public markets and the economies which can be effected by shopping 
w^ith the market basket instead of the telephone. 

Uncle Sam, Champion Farmer — V. S. Ag. 

Scenes showing the great crop, fruit and livestock industries of the 
United States, including cotton, wheat, corn, potatoes, apples, dates, 
citrous fruits, poultry, dairy and beef cattle, hogs, horses, mules, and 
sheep. 

Undesirable Alien, An— U. S. Ag. 

This film shows how the European corn borer became established in 
New England — damage to corn and truck crops in Massachusetts and 
the fight to control. 



298 MOTION PICTURES FOR INSTRUCTION 



Unhooking the Hookworm — Bu. Mines, 

This film depicts the methods by which the hookworms enter the 
human body and the simple and effective methods of cure and preven- 
tion. 

Western Cantaloupe Industry — I) \ S. Ag. 

Methods of harvesting and marketing cantaloupes in the melon- 
growing Turlock and Imperial Valleys in California. 

Wheat — Bulk Handling — U. S. Ag. 

Showing the rapidity with which great quantities of grain can be 
handled by this new and more economical method — the vastness of the 
operations. 

Wheat Grading — V. 8. Ag. 

Tests of wheat under Government supervision. 

Wheat — Sack Handling — U. S. Ag. 

Various steps 'in handling sacked grain in the Pacific Northwest. 

Where Uncle Sam Raises Poultry — V. 8. Ag. 

Scenes showing the improved methods of handling poultry as used 
on the Department of Agriculture poultry farm near Washington — 

brooders, pens, houses, use of trap-nests, etc. 

Year with the Flock, A — Sheep — V. 8. Ag. 

Showing the care of sheep throughout the year — selection of pure- 
bred ram and good grade ewes in the fall — winter management — the 
shepherd's spring duties, docking, shearing, dipping — sheep on summer 
pasture. 



MANUFACTURING 

Automobiles 

Achieving Quantity Production — Buick Motor Co., Flint, 
Mich. 

An automobile in the making — the trip through the laboratories and 
foundries shows the various operations — animated diagrams explain 
automotive principles. 



LIST OF EDUCATIONAL FILMS 



299 



Electricity in the Motor Car — 8 reels — Northeast Electric 
Co., Rochester, N. Y. 

A highly technical and, at the same time, popular educational ex- 
position of the various applications of electricity to automobiles and 
trucks. All the latest devices used for instruction purposes with the 
motion picture are employed in this series of films : animated drawings. 
X-ray or phantom views, and greatly enlarged close-ups. 

This combination of devices results in the student being able to see 
operations of the mechanism and movements of parts that he could not 
see in the real object or even in the factory itself. The subjects are as 
follows : 

Xo. 1 — Electricity in the Motor Car ( 1 Reel ) 

>>o. 2 — How the Generator Works and Why the Starting 

Motor Starts (2 Reels ) 

No. 3 — One for Two: The Starter-Generator (1 Reel) 

Xo. 4 — The Burning Question: Ignition (2 Reels.) 

* Xo. 5 — The Electric Starter and Generating System in the 

Motor Car (1 Reel) 

*No. 6— Ignition (1 Reel) 

*Note: Subjects Xo. 5 and Xo. 6 are condensations of the entire 

six reels and are more suited for general audiences than for classes 

in mechanics. 

Flight of the Grey Goose — Witts-Sainte Claire Co., Marys- 
ville, Mich. 

Interesting points in the manufacture and testing of an automobile. 

Story of a Motor Truck — 3 reels — General Motors Corpora- 
tion, Pontiuc, Mich. 
This picture gives the complete story of the manufacture of powerful 
trucks and shows in an interesting manner the value of these carriers 
to civilization and modern commerce. 

Nation's Road Maker — Dodge Bros., Inc., Detroit, Mich. 

This film shows the many and interesting uses of the "caterpillar ' 
tractor in the making of roads — uprooting and removal of trees — re- 
moval of other objects — pulling train formation of graders and wagons. 

Right on the Job — BuicJc Motor Company, Flint, Mich. 

A motor trip from Portland, Oregon, to San Francisco, California — 
beautiful scenery of the Pacific Coast — interesting tests automobiles 
are put to by the fire department of San Francisco. 



300 



MOTION PICTURES FOR INSTRUCTION 



Story of an Automobile (Studebaker) — 5 reels — Bu. Min< 

This film covers the entire manufacture of an automobile from the 
raw material to the finished product — founding, forging and finishing of 
metals and the final assembling of parts. 

Storage Batteries and Diamond Cutting — N. C. E. 

The diamond cutting industry — the manufacture of necklaces — build- 
ing storage batteries. 

Valve-in-Head Motor — 3 reels — Buick Motor Co., Flint, Mich. 

The use of the animated drawing is of special interest in this film 
which shows the making, assembling, and operation of a valve-in-head 
motor — -'ignition and action of gas in the cylinder. 

V-Type Cylinder Car — 3 reels — Cadillac Motor Car Co., De- 
troit, Mich. 

The making, assembling and minute inspection and tests of an auto- 
mobile. 

Railroads 

Butte, Anaconda & Pacific Ry. — G. E. 

The advantages of electrification of railways, using as an example the 
line between Butte and Anaconda, over which copper ore must be trans- 
ported through a rough and mountainous country. 

Conservation of Railway Fuel — Bu. Mines. 

Showing correct and incorrect methods of firing locomotives. 

Electrified Travelogue — 2 reels — TT. E. 

These two reels take us back to ancient Egypt and trace the develop- 
ment of transportation methods by the various peoples up to the electric 
locomotive — the construction and operation of a modern electric railroad 
are convincingly shown — the scenery along the way adds greatly to the 
interest of the picture. 

King of the Rails — 3 reels — G. E. 

This film on transportation goes back to the native American and 
through the stone-boat, wheel-barrow, and more modern vehicles to the 
DeWitt Clinton, the first locomotive, a feature that will prove of great 
historical interest. The film culminates with the great electric locomo- 
tive of the Chicago, Milwaukee, and St. Paul Railroad now in operation 
through the Rocky Mountains. 



LIST OF EDUCATIONAL FILMS 



301 



Making Railroad Ties on the Wasatch — U. S. Ag. 

This picture shows the cutting of great pines into railroad ties. 

Building Materials 

Brick — From Clay to Pavement — U. S. Ag. 

The preparation of clay from the raw material to vitrified paving 
brick — views of some finished brick roads. 

Hollow Building Tile — Hollow Brick Tile Association, 
Conway Bldg., Chicago, III. 
Showing the process of the manufacture of hollow building tile and 
its use in building construction; interested animated drawings show its 
heat and cold resisting qualities. 

Lumbering — N. C. R. 

The lumber industry in America and Europe. 

Manufacture of Face Brick — The American Face Brick 
Association, 130 N. Wells St., Chicago. 
A highly educational film on the various operations in the manufac- 
ture of face brick. 

Marble Industry — Bu. Mines. 

A film showing the quarrying, cutting, and finishing of marble. 

Mixed Asphalt Pavements — Bu. Mines. 

Asphalt from plant to roadway and the approved methods of con- 
structing asphaltic concrete and sheet asphalt roads. 

New England Home, The — Roofing — Bird & Son, East Wal- 
pole, Mass. 

An unusually interesting industrial film on the manufacture of 
modern fire-proof roofing material, with views of old New England homes 
dating back nearly three centuries. 

Out of the Woods — N. C. R. 

An interesting film of the lumbering industry in the Northwest, with 
scenes showing the hazardous work of the lumberjack. 

Romance of Clay — Atlas Educational Film Co., Oak Park, 
III. 

The entire story of clay, prefaced with diagrams and quotations show- 



302 MOTION PICTURES FOR INSTRUCTION 



ing the formation of the clay beds prior to and during the glacial age, 
modern methods of mining, manufacturing, burning and glazing. 

See Saw — Manufacture of Saws — N. C. B. 

An exposition of the interesting processes through which a saw passes 
in its manufacture. 

Story of Steel Alloy — 4 reels — Bu. Mines. 

The ferro-alloy storage bins — the great cast-iron scrap piles — the 
charging of scrap iron into open-hearth furnaces — the pouring of the 
white-hot molten metal and the rolling of the ingots into merchant 
bar. 

What About Macadam ! — V. S. Ag. 

An explanation of the means whereby macadam roads may be made 
satisfactory for automobile traffic — approved methods of building 
macadam roads on Federal aid projects under the Bureau of Public 
Roads. 

Winter Logging — Caterpillar Tractor Co.. Peoria, III. 

This film shows the use of the "caterpillar" tractor in the removal of 
logs in the northern woods — pulling train formations of heavily loaded 
log sleds from forest to mill — exceptionally good winter scenics through- 
out. 



Cloth and Coverings 

Carpeting a Century — Bigelaw Hartford Co., 385 Madi-san 

Ave., New York City. 
Detailed scenes of the operations in the manufacture of rugs and 
carpets from the preparation of the woolen yarn to the finished article, 
including setting the design, weaving, shearing, etc. 

Civilization's Fabric-Cotton — Converse & Co., 88 Worth St., 
New York City. 
Complete story of cotton, the great fabric of modern life. 

Cotton Manufacture — 4 reels — U. S. Ag. 

The story of cotton from the time it arrives at the mill, including the 
steps of spinning, weaving, etc., until the cotton cloth is finished. 



LIST OF EDUCATIONAL FILMS 



303 



From East to West — N. C. R. 

This film shows the making of carpets and rugs, including the special 
machinery used in this industry. 

From Cocoon to Spool — Corticelli Silk Co., 373 W. Adams 
St., Chicago, III. 

One of the first of the educational industrial films to find favor in 
the schools. Very interesting and instructive views are given of the 
life of the silk worm as well as the complete manufacture of silk. 
Includes a number of Japanese scenes. 

Just Kids (Gloves) — N. C. R. 

The detailed manufacture of gloves is shown in an interesting manner 
in this reel. 

Linen Manufacture in America — Clear fax Linen Rug Co., 
Duluth, Minn. 

An unusually interesting picture of American methods of handling an 
ancient industry — fields of flax — harvesting and preparation for the 
loom — European hand methods as compared to American — processes m 
the manufacture of linen rugs. 

Making Linoleum — Armstrong Cork Co., Lancaster Pa. 

An instructive film on an interesting subject — breaking and grind- 
ing of cork and its preparation with oil — shrinking and stiffening the 
burlap base — the applying and pressing of ingredients — pattern print- 
ing and seasoning — originating of pattern and cutting stencils. 

Romance op Cloth — National Motion Picture Bureau, Bed- 
ford, Mass. 

A double story of the manufacture of cotton and wool, from the 
natural product to the finished, bolted cloth. 

Romance of Silk — Belding Bros. Co., 201 W. Monroe St., 
Chicago, III. 

Story of Virgin Wool, The — Leggett. 

A reel showing the industry from the sheep's back to cloth. 



To Suit Man— Making Clothing — N. C. R. 

An interesting and cleverly arranged film on the making of clothing. 



304 



MOTION PICTURES FOR INSTRUCTION 



What the Ocean Hides — N. C. R. 

Showing the new industry which furnishes the world with shark 
skins for shoes, pocketbooks, bookcovers, traveling bags, and novelties of 
all kinds — matching of the sharks and processes in the preparation of 
the skin. 

Your Hat and Mine — Crofut & Knapp, New York City. 

An interesting industrial firm, showing the manufacture of felt hats, 
including the shaving of the fur. washing, forming, shrinking, steaming, 
blocking, etc. 

Bookmaking, Printing, Etc. 
Making a Sales Book — .V. C. R. 

This film shows the processes in making the electrotype and then 
views of the presses turning out sales slips — the cutting, binding, and 
use of sales books. 

Making a Great Newspaper — 3 reels — Rowland Rogers Stu- 
dios, 71 W. 23rd St., New York City. 

Your Book — 2 reels — Ginn and Co., Boston, and X. C. R. 

This film shows books as man has made them since 5000 B.C.; the 
original books of clay, wood, papyrus, parchment, and paper are shown, 
and then the much more complex work of making books today — the 
linotype machine and hand typesetters — making of illustrations — print- 
ing — various steps in book binding. 

King's Printing Office — .V. C. R. 

An industrial film showing how a royal printery is operated. 

Electricity 

Behind the Button — Xational Electric Association, 29 TV. 
39th St.. New York City. 

Interwoven with the story of electricity as a labor saver is the old 
legend of Thor, the god of thunder, and his magic hammer. 

Benefactor. The — Edison — 3 reels — G. E. 

This film shows Edison as a newsboy, in his railroad laboratory, later 



LIST OF EDUCATIONAL FILMS 



305 



as a telegraph operator, and inventor of the incandescent lamp and the 
dynamo — a thrilling story of struggle and achievement, authentic and 
educational. 

Benjamin Franklin's Return — Public Service Co., 7\3 W. 
Adams St., Chicago, 111. 

This film shows Franklin's early experiments with electricity, and 
the great progress we have made in its use in the last century. 

Light of a Race — G. E. 

The evolution of artificial light from the flint sparks of the caveman 
to the incandescent lamp — a reel of real historical value and of ex- 
cellent photography. 

Conductor, The — G. E. 

The transformation of copper from the mines in the Rocky Mountains, 
cotton from the South, rubber from Brazil, and silk from Japan, into the 
finished lamp cord, the conductor. 

Consolation Club — IT. E. 

The consolation club is composed of primitive household appliances 
which have been discarded by a modern housekeeper — the old appliances 
come to life and recite their woes — entertaining, but only slightly 
educational. 

Current Occurrences — A. C. B. 

An interesting reel on the making of electric flatirons and percolators. 

Crops and Kilowatts — U. S. Ag. 

Water power and irrigation uses of water as conserved in the National 
Forests. 

De-Light— A. C. B. 

An interesting story of the manufacture of electric light bulbs, show- 
ing earlier means of obtaining artificial light. 

Edison. Thomas A. — G. E. 

Mr. Edison is conducted, as a guest of the General Electric Company, 
through its laboratories, where he sees the methods employed in the 
development of his great invention, the incandescent lamp — fine motion 
picture photography, instructive to the student of electricity. 



306 MOTION PICTURES FOR INSTRUCTION 



Electrical Heart, The — Y. M. C. A. Motion Picture Bureau, 
120 W. 41st 81, New Yoric City, md 1111 Center St., 
Chicago, 111. 
Storage Batteries and their production. 

Farm Electric Visuagraph, The — W. E. 

The possibilities of rural electrification told in story form. 

Glow of the Lamp, The — G. E. 

This film shows the great variety and multiple uses of the incandescent 
lamp — the manufacturing end is not neglected. 

Headlights — 2 reels — W. E. 

An interesting safety film showing the necessity for good headlights. 

Jupiter's Thunderbolts — W. E. 

The history of the storage battery; Benjamin Franklin's experiments 
with his kite, Galvani's experiments with frog legs, Plante's first battery 
which was made in 1860; the place that the storage battery holds after 
sixty-six years of development; its uses and details of manufacture. 

Kilowatt, the Conqueror, New California Electric Corpora- 
tion, Denver, Colo. 

The great dams of the west and electrical power plants and equip- 
ment; scenes in the Sierra Nevadas; Mt. Dana and Mt. Whitney; Im- 
perial Valley, the truck gardens of America. 

Light of the Nation — W. E. 

A rather detailed and technical presentation of the manufacture of 
Mazda lamps. 

Making Telephone History — American Telephone & Tele- 
graph Co., 195 Broadway, New York City. 

Interesting points in the history of the telephone — Alexander Graham 
Bell, the inventor — the first crude telephone in 1875 and its evolution 
to date — an early switchboard as contrasted to the modern telephone 
exchange — overhead and underground cables — laying an ocean cable. 

Notable Achievements in Electricity — 3 reels — Atlas Edu- 
cational Film Co., Oak Park, III., or Willard Battery Co., 
Cleveland, Ohio. 
Highlights in the development of electricity shown in an interesting 



LIST OF EDUCATIONAL FILMS 



307 



manner. "The Amber Soul," "Volta's Discovery," and the "Friction 
Ball," are the titles of the reels which make the complete story. 

Number, Please — Telephone — N. C. R. 

An interesting reel about the telephone and telephone service. 

Radio Telephone, The — American Telephone & Telegraph 
Co., 195 Broadway, New York City. 

Technical diagrams are used to explain the principles of the radio 
telephone — voice, light, and electric wave vibration — the oscillograph — 
construction and use of the vacuum tube explained — radio stations and 
broadcasting. 

Rolling Steel by Electricity — W. E. 

Steel making by the steam method and also the electrical method. 
The superiority of the electrical method is dwelt upon. Good pho- 
tography and logical arrangement make this an instructive film. 

Water Power — W. E. 

This film made in cooperation with the Bureau of Mines shows the 
ancient and modern methods of using the energy of falling water — the 
generation of electricity by a turbine plant and the transmission of 
current at high voltages over long distances. 

Westinghouse Works — 2 reels — G. E. 

This film concerns itself frankly with the Westinghouse plant at 
East Pittsburgh. It presents to the visitor an instructive series of 

views of the manufacture of electric articles, including a giant electric 
locomotive. 

Yoke of the Past — 3 reels — G. E. 

The Yoke of the Past is physical drudgery, and this film shows in an 
interesting manner how man's mind and his inventions have relieved 
him of the great labor of primitive methods and replaced it with the 
use of modern machinery. 

Yours to Command — National Electric Association, New York 
City. 

The service of electricity, a tireless and invisible servant; power and 
light as used by industries, commerce, and the home; its use in modern 
motion picture production. 



308 MOTION PICTURES FOR INSTRUCTION 



Metals and Mineral 

Conquest of a Wilderness, — 4 reels— Illinois Steel Co., 208 
S. LaSalle St., Chicago, III. 
The building of the great mills and the city of Gary by the Illinois 
Steel Company. 

Iron and Steel — Ford Motion Picture Laboratories, Detroit, 
Mich. 

An educational film on the manufacture of steel, from the ore fields to 
the finished product, showing the great transports on the Great Lakes. 

Making Steel and Wire— 5 reels— American Steel & Wire Co. 
208 S. LaSalle St., Chicago, III. 
One is amazed at the great variety of uses to which wire is put in 
modern life, as shown in this film. From the wire nail to piano wire 
seems like a long journey, but when the steps are all shown the essential 
unity of the process is seen. 

The Making of Steel— 2 Reels— International Harvester Co., 
606 South Michigan Ave., Chicago, III. 
Latest picture of a great industry. 

Steel Pipe — 4 reels — Bu. Mines. 

This film shows the manufacture of steel pipe from the mine, trans- 
portation, blast and open-hearth furnaces, ingot pouring, blowing, skelp 
mills, spelterizing, and welding. (For technical classes.) 

Steel and Plate Glass— N. C. R. 

Making electrotype blocks— a visit to a steel mill— a plate glass 
factory. 

Silverware — N. C. R. 

How silver plating is done. 

Story of Steel— 6 reels— Bu. Mines. 

The complete story of steel made by the Bureau of Mines and the 
United States Steel Corporation. (For technical classes.) 

Reel 1— Shows open-pit iron mining; transportation of ore by water; 
blast furnace; by-product coke-oven operation; Bessemer and electric 
furnaces; pouring ingots and the soaking pits, 



LIST OF EDUCATIONAL FILMS 309 



Reel 2 — Manufacture of rails, plates, and other products hot-rolled 
from ingots. 

Reel 3 — Manufacture of wire products. 
Reel 4 — Manufacture of pipe. 
Reel 5 — Manufacture of tin plates. 
Reel 6 — The human side of steel making. 

Triplex Process Making Steel — 2 reels — Bu. Mines. 

These reels show the blast furnace, Bessemer converter, open-hearth, 
ingot pouring, and rolling mill operations of a great steel plant. 

Mining 

Copper Mining, Milling and Smelting — 4 reels — Bu.Mines. 

The mining, transportation, and preparation of this valuable metal is 
shown in detail. 

Copper Mining at Anaconda, Mont. — 12 reels — Bu. Mines. 

Six reels show mining operations and six show reduction works at one 
of the world's largest copper mines. Many safety scenes are given. 
For technical students only. 

Dangerous and Safe Practices in Soft Coal Mining — Bu. 
Mines. 

This reel shows the causes of accidents and disasters in coal mining 
and methods of prevention. 

Dredge Gold Mining — Bu. Mines. 

An interesting reel on the source of gold. 

Dredging Anthracite Coal — Bu. Mines. 
An interesting reel showing the recovery of coal from the river bed. 

Indiana Limestone — 2 reels — Bu Mines. 

A pic'turization of the preparation of this stone from which some of 
America's most beautiful buildings are made — quarrying, cutting and 
finishing. 

Iron and Gold Mining Pageant — Bu. Mines. 

Scenes from the mining industry pageant given by the Carnegie In- 
stitute of Technology. 



310 MOTION PICTURES FOR INSTRUCTION 



Mixing at the Calumet-Hecla — Bu. Mines. 

Shows mining, milling, smelting, and the pouring of the molten 
copper. 

Modern Blast, A — Hercules Powder Co., Wilmington, Del. 

Showing the use of dynamite in surface coal mining — drilling and 
the preparation of the charge — loading and tamping — detonating. 

Modern Coal Mining — 3 reels — Jeffrey Manufacturing Co., 
Columbus, Ohio. 
This film shows the use of modern machinery in coal mining; cutters 
which cut the walls and bottom of the coal mine, and the "entry driver" 
which cuts and loads coal without the use of explosives. For technical 
students only. 

Modern Goliath Excavating Machines — i reels — Bu. Mines. 

The use of the excavating machine in mining and road building — steam 
and gasoline shovels, carriers holding up to eight cubic yards — rail track 
— caterpillar — tower — drag-line equipment. For technical students only. 

One of the World's Great Copper Mines — 3 reels — Bu. 
Mines. 

This reel shows the Inspiration Copper Mine and the methods used 
by which they have cut the cost of production to a minimum. 

Rock Drilling — 4 reels — Bu. Mines. 

The use of various types of drills. Reel 1. iron mining — Pveels 2 and 
3, the granite industry — Reel 4, the construction of the new 10-mile 
power canal at Niagara Falls. For technical students only. 

Safety Lessons in Metal Mining — 6 reels — Bu. Mines. 

This film shows how simple safety measures can prevent many ac- 
cidents in the mines which often result in injury and loss of life and 
property. 

Sandstone Industry — 2 reels — Bu. Mines. 

The cutting and removal of sandstone from a deep quarry — machining 
the stone — the laying of curbs and sidewalks. 

Saying Coal at Home — Bu. Mines. 

This reel shows the value of the insulating of heating pipes for coal 
economy. 



LIST OF EDUCATIONAL FILMS 



311 



Story of Coal, The — Bu. Mines. 

This reel depicts the complete work of the coal mine. Mining and 
blasting of coal — loading of mine cars — hauling underground and hoist- 
ing to the surface — grading, cleaning and loading at the tipple — ship- 
ment by rail. 

When a Man 's a Miner — 4 reels — Bu. Mines. 

Realistic and vivid coal mining scenes and the lesson of safety are 
interwoven with a very good human interest story. 

Zinc Mining — 4 reels — Bu. Mines. 

The story of zinc, including mining, milling, and smelting. 

Glass 

Magic Jar, The — Atlas Educational Film Co., Oak Park, III. 

This film shows the early struggle for food by prehistoric man, the 
accidental discovery of preserving meat through smoking, then an ex- 
position of modern home canning methods by Champion U. S. Can- 
ners. 

Making Cut-Glass — N. C. B. 

The processes by which beautiful objects are made from cut-glass are 
shown from the furnace to the finished product. 

Romance of Glass, The — Atlas Educational Film Co., Oak 
Park, III 

The picturization of the discovery of glass by the Phoenicians — process 
manufacture of glass jars — the hand blowing method as compared to 
the modern machine method — explanation of the cold pack method of 
canning in modern fruit jars. 

Story of a Prescription Bottle, The — Illinois Glass Co., 
Alton, III. 

An interesting, descriptive and educational reel showing the old 
methods of manufacturing bottles compared with modern methods. 

Pottery 

Making Pottery — N. C. R. 

The mixing and weighing of the clay — shaping on the potter's wheel 
— baking, decorating, and glazing. 



312 MOTION PICTURES FOR INSTRUCTION 



Potter's Wheel, The — G. E. 

An interesting and educational film showing the manufacture of 
electrical porcelain, through the details of mixing the ingredient?, 
molding, turning, glazing and firing in the kilns. 

Miscellaneous 

Fine Art of Making Musical Instruments, The — Atlas 
Educational Film Co., Oak Park, III. 
An excellent film showing the manufacture of saxophones from the 
flat brass to the finished instrument, opening with the story of the 
early struggles of Sax to perfect his invention. 

Home Conveniences — International Harvester Co., Agricul- 
tural Extension Dept., 606 S. Michigan Ave., Chicago, III. 
How modern labor-saving conveniences can lighten the drudgery of 
woman's work on the farm. 

How to Make a Rubber Tire — Ford Motion Picture Labora- 
tories, Detroit, Mich. 

The complete process of cultivation and preparation of the rubber 
and its final manufacture — practically no advertising. 

Just Write — Fountain Pens — .V. C. E. 

The story of writing instruments from prehistoric times to the modern 
fountain pen — details of its manufacture. 

Kewpie Dolls and Toy Trains — .V. C. R. 

Showing the manufacture of two of the prime necessities of child- 
hood. 

Making Game — N. C. E. 

An entertaining reel showing the manufacture of sporting goods. 

Motion Picture Industry — A T . C. E. 

Interesting views of one of America's greatest industries — entire 
towns built for screen plays — mammoth stage settings — painting a por- 
trait of Mary Pickford — making slow motion pictures. 



Ocean Tears (Salt in Bahama Island) — X. C. E. 

Scenes in the Bahama Islands showing the refining of salt from 



LIST OF EDUCATIONAL FILMS 



313 



ocean water and the various processes it passes through before ship- 
ment. 

Passing of the Broom — Hoover Suction Sweeper Co., 1411 
Railway Exchange Bldg., Chicago, III. 
A playlet wherein husband and wife are concerned in the merits of 
the suction sweeper as compared with the broom; a very presentable 
story well played. 

Rubber of Yesterday, The — Goodyear Rubber Company, 
Akron, Ohio. 

Gathering the rubber latex, methods of preparation and shipment. 
Old methods as compared with those on modern scientific rubber planta- 
tions of today. 

Salt and Rope Making — N. C. R. 

The production of salt by the evaporating system — the manufacture of 
rope — the primitive method as compared to the modern methods used 
in the factories in the Philippines. 

Suds — Apex Appliance Co., 3223 W. 30th St., Chicago, III. 
(An Atlas film) 
The origin of clothes — snow and stream washing as practiced by the 
American Indian — the crude washboard and soap of the pioneer — the 
confusion and labor of mother's washday — a modern washing machine 
in process of manufacture and operation. 

Tick Tock— A t . C. R. 

A picture on the manufacture of clocks, watches, and alarm clocks. 

Trip Through the N. C. R,— 2 reels— N. C. R. 

These two reels show the plant and methods of production in the 
National Cash Register Company's plant at Dayton, Ohio. 

Ukeleles and Wax Candles — N. C. R. 

The interesting process of making wax candles — making baskets from 
palm leaves — the manufacture of ukuleles in Hawaii — assembling a desk 
telephone. 

With Every Meal — Knives, Forks and Spoons— N. C. R. 

The manufacture of knives, forks and spoons. 



314 



MOTION PICTURES FOR INSTRUCTION 



Physiology and Health 

(See Welfare also) 
The Flying Bandit — N. C. R. 

An interesting and cleverly arranged film showing the plotting of the 

flies against humans: their rapid multiplication, how they spread 
disease, and methods of extermination are shown: animated cartoons 
add a touch of comedy. Can be rented also from the Rowland Rogers 
Studios, 71 W. 23rd St., New York City. 

Before the Doctor Comes — Society for Visual Education, 
806 W. Washington Blvd., Chicago, III. 
A film on first aid which liiay be given injured workers by fellow 
employees. 

Boy Scout Camps — N. C. R. 

Building a bridge in a hurry — Ernest Thompson Seton starting a fire 
without matches — a company of deaf and dumb Boy Scouts — a scout 
camp in the Catskill Mountains and a vacation trip to Porto Rico. 

End of the Road, The — 5 reels — U. S. Public Health Service, 
Washington, D. C. 
Health propaganda in an effective form. In telling the life stories 
of two girls, this picture shows the dangers of promiscuity, the ravages 
of venereal diseases, and the health., love and happiness that come 
to woman as a result of proper training, education, and guidance. In 
the presentation of this picture, arrangements should be made for 
segregated audiences. 

Fit to Fight — 4 reels — N. C. R. 

The prevalence of prostitution during the war around the cantonments 
and its effect upon society is told in this story — the effects of venereal 
disease and its treatment. Recommended for young men only. 

Fly as a Disease Carrier, The — U. S. Public Health Serv- 
ice, Washington, D. C. 
The structure of the common housefly — the way it carries disease — 
approved methods of extermination. 



LIST OF EDUCATIONAL FILMS 315 



General Personal Hygiene — U. S. Public Health Service, 
Washington, D. C. 
General standards of health for the individual. 

Gift of Life, The — National Health Council, 370 Seventh 
Ave., New York City. 
The biology of reproduction from low forms of cell life to the human 
being. 

How Disease is Spread — U. 8. Public Health Service, Wash- 
ington, D. C. and N. C. R. 

Showing the spread of disease through public drinking glasses, sneez- 
ing, coughing, etc. — animated map of the United States showing spread 
of disease. 

How the Mosquito Spreads Disease — U. 8. Public Health 
Service, Washington, D. C, and N. C. R. 
The life history of the mosquito and advice on how to prevent fever 
and the extermination of the mosquito. 

Heart and Circulation of Blood — N. C. R. 

The action of heart, circulation and purification of the blood is shown 
in an interesting manner with the assistance of animated drawings. 

How Plants and Animals Cause Disease — U. 8. Public 
Health Service, Washington, D. C. 
Parasites and how they spread disease — the multiplication of bacteria 
and their action on living tissue* 

How to Prevent Disease — V. S. Public Health Service, 
Washington, D. C. 
Personal hygiene, pasteurization, quarantine, vaccination, etc. 

How to Keep Cool in Hot Weather — N. C. R. 

Approved method of reducing weight and maintaining normal weight 
— how to keep cool in hot weather. 

Intestines of a Mouse — N. C. R. 

Of special interest to high school students or zoology classes; the 
subject is thoroughly covered in an interesting manner. 



316 MOTION PICTURES FOE INSTRUCTION 



Interdependence of Living Things — U. 8. Public Health 
Service, Washington, D. C. 

This film shows the sun as the source of energy and the elemental 
sources of nourishment, raw materials, etc. — bacteria in the scheme of 
things. 

Little Comrades (Open Air School) — N. C. R. 

Interesting scenes of study, exercise, rest, etc., in an open air school. 

Malaria Control Work — U. 8. Public Health Service, Wash- 
ington, D. C. 
The cause of the disease and treatment. 

Milk for You and Me — 14 ree ^ — U. S. Ag. 

A four minute trailer, for special use during "Milk for Health" week. 

Personal Hygiene for Young Men — Z7. S. Public Health 
Service, Washington, D. C. 

Sex education and personal hygiene for men, with an explanation of 
sex organs and impulses and the danger of venereal disease. 

Personal Hygiene for Young Women — U. S. Public Health 
Service, Washington, D. C. 
A good reel of sex education and personal hygiene for women — sexual 
reproduction is illustrated with anatomical drawings. 

Protoplasm, The Beginning of Life — U. S. Public Health 
Service, Washington, D. C. 
An interesting educational film showing the earliest forms of cellular 
life and their methods of reproduction — reproduction in plant life. 

Roentgen X-Ray — N. C. R. 

An explanation of the invention that is one of the greatest steps in 
medical science — its use and operation. 

Social Hygiene for Women — 2 reels — U. S. Public Health 
Service, Washington, D. C. 
A more detailed exposition of the subjects dealt with in "Personal 
Hygiene for Young Women." 



LIST OF EDUCATIONAL FILMS 



317 



That Matter of Health — Atlas Educational Film Co., Oak 
Park, III. 

The vital importance of proper and modern sewage, and sewage 
materials, to individual and public health. The reel touches on the 
ancient cities of Mesopotamia and Babylon and the great plagues of the 
Middle Ages to impress its lesson. 

Toothache — N. C. R. 

The story method is used to impress information regarding the cause 
and cure of toothache and the importance of proper dental attention. 

Turn on the Water ! — U. S. Ag. 

The danger of impure water on the farm — inexpensive systems — good 
and bad water supply systems. 

Venereal Diseases — 3 reels — V. S. Public Health Service, 
Washington, D. C. 
A scientific treatment of the subject of venereal disease. 

Dental Hygiene and the Animals — 2 reels — Colgate & 
Co., New York City. 
A film on denial hygiene from the child's viewpoint. Educational and 
entertaining. 

Welfare 

America's Heritage — Boy Scouts — Goodyear Tire & Rubber 
Co., Akron, Ohio. 
A motion picture record of a Boy Scout tour through the eastern 
states on a motor truck. 

An American in the Making — Bu. Mines. 

An excellent reel on Americanization, industrial safety and welfare. 

Baby Welfare Keels — Borden Condensed Milk Co., 108 
Hudson St., New York City. 

Barney Medical Clinic (Rotarians for Crippled Children) 
— N. C. R. 

Showing the work of the Rotarians in obtaining medical care and 



318 MOTION PICTURES FOR INSTRUCTION 



treatment for crippled children of the cities, who would otherwise be 
without aid. 

How to Beautify Your Community — 2 reels — N. C. R. 

A practical film on the reclaiming of a run-down, ugly neighborhood — 
steps by which the people of a community can undertake and accomplish 
this work — the principles of landscape gardening — the result of co- 
operation. 

Boy Scouts at the Fairgrounds — N. C. R. 

Showing the Boy Scouts at a fair, pitching camp, various activities, 
exhibits, etc. 

Boy Scout Activities — N. C. R. 

The Boys' Seminole Club in Florida — a fire righting drill — Swiss Boy 
Scouts rescue a herdsman — Boys' Week celebration in New York City. 

Christmas Thoughts — A T . C. R. 

A story on the activities of the Goodfellow Clubs at Christmas. 

Danger That Never Sleeps — National Board of Fire Unci' r- 
writers, 76 William Street, New York City. 

An educational film designed especially for children, dealing with 
safety practices around the home — fire is the danger that never sleeps. 

Dayton, a City of Beautiful Homes and Factories — 
N. C. R. 

The progress and development of a city from 1910 to the present time 
— ^s r iews of its factories, buildings and homes. 

Diary of a Murderer (The Fly) — Bu. Mines. 

An interesting and educational film showing the menace of typhoid 
in the fly. 

Factory "Welfare — N. C. R. 

The activity of the welfare department of a large industrial institu- 
tion — beautiful surroundings — recesses — recreational instruction and as- 
sistance — athletics and sanitary conditions. 

For the Future — Michigan State Industrial School— 
N. C. R. 

An interesting reel with views of the Michigan State Industrial 
School and the training it is giving the workers of tomorrow. 



LIST OF EDUCATIONAL FILMS 



319 



Fire Fighters — N. C. E. 

Fire prevention day and school children's drill and the awarding of 
medals — old and new methods of sending fire alarms — the run to the 
fire — firemen at work — using the life nets. 

Fire — National Board of Fire Underwriters, 76 William St., 
New York City. 

A film produced by the National Board of Fire Underwriters for 
general distribution to call attention to the great fire losses and the 
preventable nature of the majority of these disasters. 

Fire Prevention — Foamite-Childs Corporation, Vtica, N. Y. 

An advertising film showing the use of the Foamite System in fight- 
ing fires of oil, gasoline and kerosene. 

Fire Prevention vs. Oil, etc. — Foamite-Childs Corporation, 
Vtica, N. Y. 

An advertising film showing the use of the Foamite System in the 
oil fields. Unprotected tanks are struck by lightning and destroyed at a 
tremendous loss. Later a 55,000 barrel tank at the refinery is struck 
by lightning, but surrounding property is protected, and the fire ex- 
tinguished at a slight loss. 

Fire Protection vs. Liquids — Foamite-Childs Corporation, 
Vtica, N. Y. 

An advertising film demonstrating the use of the portable apparatus 
of the Foamite-Childs Corporation in the control of fires of volatile 
liquids, dip tanks, etc. 

Good- Roads — N. C. R. 

The early trails of the Indian — the widening of early roads for the 
pioneer's prairie schooners — modern roads and their need in certain 
localities. 

Good Turns for Our Forests — V. 8. Ag. 

The work of the Boy Scouts of America in forest conservation. 
Keeping Out Bad Food — V. 8. Ag. 

The work of the United States Department of Agriculture in pro- 
tecting the health of the public by means of a system of inspection and 
scientific tests of food stuffs. 



320 MOTION PICTURES FOE INSTRUCTION 



Keystone, The — National Board of Fire Underwriters, 76 
William St., New York City. 
The importance of fire insurance in commercial credit is shown in this 
picture. Animation and human interest make this a good film for gen- 
eral exhibition purposes. 

Men and Management — N. C. R. 

A practical film on business management, instruction, modern methods, 
elimination of waste, etc. 

Outlaw, The: King Carelessness — Carter Cinema Produc- 
ing Corporation, % Evans Film Laboratories, 1176 Broad- 
way, New York City. 
An animated cartoon with allegorical characters impressing the les- 
sons of safety. 

Public Welfare #1 — N. C. R. 

Serving milk to pupils in Kindergarten class — a check room for 
babies — a San Francisco Chinatown baby show — a school of free dentis- 
try — a roof playground — teaching crippled children to make toys — fresh 
air camp for New York boys. 

Public Welfare #2—N. C. R. 

Training the blind — children's tuberculosis sanitarium in New Eng- 
land — a home for orphaned children — the Redham orphanage in Eng- 
land. 

Rat Menace, The — New York Bureau of Public Health, 137 

Center St., N. F, C. 
The danger of disease as spread by rats and the proper methods to be 
used for their extermination. 

Reasons Why — Illinois Steel Co., 208 S. LaSalle St., Chicago, 
III. 

A film on accident prevention and safety practices in the steel in- 
dustry, where the slightest carelessness or neglect may mean a dis- 
aster. 

Reawakening, The (Training Crippled Soldiers) — N. C. R. 

This film was made at Fort Sheridan. Illinois, and shows the train- 
ing of crippled soldiers. 



LIST OF EDUCATIONAL FILMS 



321 



The Eoad Goes Through — V. 8. Ag. 

How the Western road builder overcomes the barriers to transporta- 
tion. 

Roads for All America — 6 reels — V. 8. Ag. 

Made in connection with the visit to Buenos Aires, Argentina, of the 
United States delegation to the First Pan-American Road Congress. In- 
teresting views of President Coolidge, various presidents of South 
xlmerican republics, the Panama Canal, types of highways, and scenes 
of general interest. 

Safety Devices — N. C. R. 

The accident prevention work in a large industrial plant — safety 
devices for machinery — correct methods of operating machines and 
handling stock. 

The Short Course — U. S. Ag. 

Photographed at Baton Rouge, Louisiana, showing the routine work 
of a thousand boys and girls in the annual Short Course. 

Trees of Righteousness — 3 reels — U. S. Ag. 

A forest fire picture, and a preachment against the practice of "woods- 
burning." 

University of the Night — International Correspondence 
Schools, 8cranton, Pa. 
A film on the value of home study, and the great possibilities of ad- 
vancement to be gained through proper guidance and self-instruction. 

What the Forest Means to You — 2 reels — V. 8. Ag. 

Man's dependence on the forest and the danger of its complete de- 
struction. 

Athletics and Sports 

Amusement Parks and Other Sports — N. C. R. 

Games as they are played in amusement parks — coasting on kiddie 
wagons — the game of "follow the leader" — quoit pitching — petola, a 
favorite Spanish pastime — the stick game, as played by the American 
Indians. 

Archery, Bowling and Polo — N. C. R. 

An exhibition of pocket billiards — a New England archery contest — 



322 MOTION PICTURES FOR INSTRUCTION 



a bowling match — broom polo — a motorcycle road race in England — 
greyhound race in Florida — a private race course in Virginia — a paper 
hunt on horseback. 

Camera Hunting in California National Forests — U. 8. 
Ag. 

A springtime hunt for deer, using a camera instead of a gun. 

College Athletics and Jiu Jitsu — N. C. B. 

Japanese festival at a women's college — folk dances and athletics — 
tug of war — the "wall game" at an English college — association foot- 
ball in Great Britain — jiu jitsu, the Japanese art of self-defense. 

Dancing — Old and Modern — N. C. B. 

A rehearsal for an amateur follies show — outdoor classic dancing 
— the native dances of Spain — Russian Folk Dance — the Greek Dance in 
Japan and America — a comparison of the slow and dignified minuet with 
the modern jazz. 

Happy Hours — N. C. B. 

A film showing the practice of favorite American pastimes; base- 
ball, golf, surf riding, tobogganing, tennis, polo, football, etc. 

Hunting and Fishing — N. C. B. 

The barefoot boy goes fishing — scenes of Annie Oakley, champion 
woman rifle shot, hunting wild ducks. 

Le Ballet de Foret — A r . C. B. 

An annual pageant and dance in the forest near Dayton, Ohio. 

Water Sports— N. C. B. 

Interesting views of yachting in Norway — canoe races — riding the 
waves on surf boards — field day of British jackies — walking the greased 
plank — crossing the equator aboard a United States warship. 

Economics, Business, Etc. 

Getting the Most Out op Retailing — 2 reels — N. C. B. 

Produced especially for retail merchants and dealing with the four 
subjects of: (1) Store Management; (2) Newspaper Advertising; (3) 
Window Displays; and (4) Retail Selling. 



LIST OF EDUCATIONAL FILMS 



323 



Face to Face with Facts — 4 reels — N. C. R. 

The use of modern methods and the systematic handling of records 
and transactions in the rescue of a retail store that is on the verge of 
ruin — a human interest story makes these films suitable for general ex- 
hibition. 

Efficiency in Office Work — N. C. R. 

Efficient office methods and practices which can be applied to other 
kinds of work as well. 

Astronomy, Physics and Chemistry 

Communing with the Heavens — Can. M. P. 

An interesting, non-technical film on the Dominion National Ob- 
servatory and the work of the astronomers. This film has the recom- 
mendation of well-known astronomers. 

Science — N. C. R. 

The analysis of tears under a microscope — slow motion pictures of a 
ball supported by a stream of water — interesting experiments with 
liquid air — the Yerkes Observatory — a short history of the progress of 
illumination. 

Riddles of the Firmament — U. 8. Ag. 

Studies of various types of clouds and their significance. 

Exploring the Upper Air — U. S. Ag. 

The Weather Bureau airplanes, dirigibles, and free balloons in their 
study of the upper air conditions for weather forecasting. 

Tides and the Moon — N. C. R. 

Animated drawings and unusual photography show how tides are 
caused by the moon. The latter part of the film is devoted to ex- 
periments in physics, such as air waves created by a tuning fork, electric 
waves, and artificial snow from compressed gases. 

Experiments in Chemistry — N. C. R. 

Showing the scientific side of everyday matters — preserving fruit 
experiments at the U. S. Bureau of Agriculture — scientific experiment 
with matches— testing liquors— experiments in combustion — formation 
of metails, 



RENTAL FILMS* 



Films listed in the three Libraries of Part I (Chapter III) 
are not relisted in Part II. 

Geography 
NORTH AMERICA 

United States (Eastern States) 

America's Greatest Wonder — George Kleine Motion Picture 
Films, 49 W. 4.5th St., New York City. 

A beautiful scenic of Niagara Falls. 

Boston — General Vision Co., 104 W. 42nd St., New York City. 

The city of Boston from a geographical standpoint — its key position 
with reference to shipping and New England industries. 

Climbing Mount Washington — George Kleine Motion Picture 
Films, 49 W. 45th St., New York City. 
A hazardous but delightful trip by the Dartmouth Outing Club during 
a Christmas vacation with the temperature 20 degrees below zero. 

Infinite Variety of Little Old New York. The — Carter 
Cinema Producing Corporation. % Evans Film Labora- 
tories, 1476 Broadway, New York City. 
Typical scenes and industries of New York City. 

* The distinction between Rental and Purchase Films is not a hard 
and fast one. Pathe Exchange, Inc.. lias a long term lease arrange- 
ment almost equivalent to sale. The Burton Holmes Laboratories will 
sell some subjects, but their list is given under Rental Films. Consult 
both lists when a film is wanted on a given subject. Rental prices are 
not given in Part II, as the lists were too long for securing the desired 
information : then, too, rental prices differed among the various ex- 
changes. Three to five dollars per reel has been the prevailing range 
of prices, 

324 



RENTAL FILMS 



325 



Lure of the Maine Coast, The — Carter Cinema Producing 
Corporation, % Evans Film Laboratories, 1476 Broad- 
way, New York City. 
Wild animals and beauties of this seacoast region. 

Marvelous Manhattan — General Vision Co., 104 W. 42nd 
St., New York City. 
New York and its harbor as a geographical unit — the outlet and in- 
let of a nation's commerce. 

Middle Atlantic StatevS — General Vision Co., 104 W. 42nd 
St., New York City, and Society for Visual Education, 
Inc., 327\ S. LaSalle St., Chicago, III. 
One of the units in the series on United States Geography prepared 

especially for school classes. 

Nature's Wealth of Scenic Beauty and Some Cottages 
at Newport — Carter Cinema Producing Corp., % Evans 
Film Laboratories, 1476 Broadway, New York City. 
Summer homes of wealthy Americans. 

New England Farm, A — Fox Film Corporation, 10th Ave. 
and 55th St., New York City, and 910 S. Wabash Ave., 
Chicago, III. 
The daily routine of a New England farm. 

New England States — 2 reels — Society for Visu-al Education, 
Inc., 327\ S. LaSalle St., Chicago, III. 

A selection of the physical features of New England designed to bring 
out the industries of the region. The reels include the coast cities, Lake 
Champlain and the typical industries of lumbering, quarrying, pastur- 
ing sheep and cattle, fishing, etc. A number of historic spots like Lex- 
ington, Concord, Plymouth Rock and the Pilgrim Monument are shown. 

New York, Empire State — 2 reels — General Vision Co., 104 

W. 42nd St., New York City. 
Another of the series on United States Geography edited especially for 
school use. Logical presentation of the things that have made New York 
the empire state of the nation. 



326 MOTION PICTURES FOR INSTRUCTION 



Our Nation's Metropolis — 2 reels — General Vision Co., 104 
W. 42nd St., New York City. 

Another unit of this series which takes up New York in detail and 
shows how it is the logical focus of the nation's business. 

Our Nation 's Capital — 2 reels — General Vision Co., 104 W. 
42nd St., New York City. 

Views of points of interest in Washington, D. C. 

Outdoor Exercise in a Woman's Camp in Maine — Carter 
Cinema Producing Corp., % Evans Film Laboratories, 
147€ Broadiuay, New York City. 
An intimate study of a new type of athletic girl in nature's out-of- 
doors. 

Physical Character of the New England States — General 
Vision Co., 104 W. 42nd St., New York City. 
For those who wish another type of geographical lesson from that 
of the S. V. E., perhaps this two reel variation of the physical character 
of the New England States will form the basis of an interesting com- 
parison. A thorough-going geography study made especially for class- 
room use. 

Physical Character of the Atlantic States — 2 reels — 
General Vision Co., 104 W. 42 St., New York City. 

A companion film to the one just described. 

Principal Cities — General Vision Co., 104 W. 42nd St., New 
York City. 

A bird's-eye view of the fulcrum cities of the United States from the 
standpoint of geographical reasons for their importance. 

Quaint Provincetown of Cape Cod — Geo. Kleine Motion 
Picture Films, 49 W. 45th St., New York City. 
Mr. Kleine says, "We doubt if Europe with all her hoary age can 
boast of anything more quaint than these views of a New England 
town." The film starts with a panoramic view from the top of the 
Pilgrims' Monument. Provincetown is situated on the tip end of Cape 
Cod and is a rendezvous for artists and fishermen; the latter leading an 
almost primitive life. Ye Olde Towne Crier still proclaims the news. 



RENTAL FILMS 



327 



Half of the population is Portuguese. Intimate views of the fishermen 
with their smacks filled with herring and mackerel. Mending nets. 

Resources and Industries of New England — 2 reels — 
General Vision Co., 104 W. 42nd St., New York City. 

Continuing the geographical study of New England. The emphasis is 
here transferred from topography to commerce and industry. The whole 
series of six reels on this important section of our country places in the 
hands of teachers an assemblage of concrete ideas which will vitalize the 
ordinary text and map study. 

South Atlantic States — 2 reels — General Vision Co., 104 
W. 42nd St., New York City. 
Of the same general character as the above. 

United States (Western States) 

Across the Grand Canyon — General Vision Co., 104 W. 
42nd St., New York City. 
In the midst of all the motion pictures that have been taken of this 
wonderful canyon, the present reel may safely be chosen as character- 
istic and inclusive. 

Ausable Falls in the Adirondacks, The — Carter Cinema 
Producing Corporation, c/o Evans Film Laboratories, 
1476 Broadway, New York City. 
A lively portrayal of the sports and scenes of this noted region. 

Central Plains — 2 reels — Society for Visual Education, Inc., 
327 S. LaSalle St., Chicago, Illinois. 
A region of our country frequently neglected by motion pictures be- 
cause it deals largely with farming and stock raising. Measured, how- 
ever, by its importance to the prosperity of America, the central plains 
are worthy of the most detailed study. 

Crystal Ascension, The — Pathe Exchange, Inc., 35 W. 45th 
St., New York City. 
The ascent of Mount Washington by an interesting group of people. 

Fire Fighting Forest Rangers of Arizona — General Vision 
Co., 104 W. 42nd St., New York City. 



328 MOTION PICTURES FOR INSTRUCTION 



Glacier Park — General Vision Co., 104 W. 42nd St., New 
York City. 

Another photographer's record of this noted area. One of the Gen- 
eral Vision Company's series on our national parks. 

Going to the Sun in Glacier Park — General Vision Co., 
104 W. 42nd St., New Yw<k City. 

Still another picture of the same type. 

Grand Canyon of Arizona — George Kleine Motion Picture 
Films, 49 W. 45th St., New York City, and General- 
Vision Company, 104 W. 42nd St., New York City. 

Tourists are seen descending into the Canyon, some on foot and others 
on burros. Passing Hermit's Rest, the party descends through the 
Devil's Corkscrew to the bottom of the Canyon, thousands of feet below, 
and returns by the Bright Angel's Trail. 

Great Plains — Society for Visual Education, Inc., 327\ S. 
LaSalle St., Chicago, III. 

A study of the great valley between the Mississippi and the Rocky 
Mountains — views of the plains and the peaks and foothills of the 
Rockies — sheep and cattle on the range and en route to market — activ- 
ities on a modern ranch — Denver, the great railroad center of the West. 

Man's Triumph over the Mighty Forest — George Kleine 
Motion Picture Films, 49 W. 45th St., New York City. 
Views of the log-floating time in the lumber district of the Northwest 
and scenes of camp life. 

National Parks and East Eiver Tunnels — 1 reel — American 
Motion Picture Corporation, 126 W. 46th St., New York 
City. 

This film contrasts the natural wonders of Yellowstone with the 
East River Tunnels of New York, the engineering wonders which man has 
created to conserve human energy. 

Pike's Peak, the Sentinel of Colorado — 1 reel — Carter 
Cinema Producing Corporation., c/o Evans Film Labora- 
tories, 1476 Broadway, New York City. 
A beautiful scenic film of the top of the world. 



RENTAL FILMS 



329 



Scenes Along the Columbia River Highway — 1 reel — 
Carter Cinema Producing Corporation, c/o Evans Film 
Laboratories, 147$ Broadway, Neiv York City. 
A film combining the natural beauties of the Columbia River High- 
way with interesting views of the salmon industry. 

Scenes Along the Nation's Highway — 1 reel — Carter Pro- 
during Corporation, c/o Evans Film Laboratories, 1476 
Broadway, New York City. 
Views of good roads of the United States. 

Sequoia National Park — 1 reel — Pictorial Chibs, Inc., 350 
Madison Ave., New York City. 
A pictorial trip through the great redwood forest of California. 

Silver Horde, The — Paflie Exchange, Inc., 35 W. 45th St., 
New York City and 418 S. Wabash Ave., Chicago, III. 

Views of community fishing and the "smelt run" when the smelts come 
up the Western rivers by the millions. 

Silver Trail, The — Pictorial Clubs, Inc., 350 Madison Ave., 
New York City. 
Means of transportation and scenic beauties along the trails that the 
silver prospectors followed in the early days of the West. 

Tacoma National Park — General Vision Co., 104 W. 42nd 
St., New York City. 
Beautiful scenic views of the mountains, streams and forests of the 
great Northwestern National Park. 

Through Shoshone Valley — 1 reel — Carter Cinema Pro- 
ducing Corporation, c/o Evans Film Laboratories, 1476 
Broadway, New York City. 
An interesting presentation of the greatest irrigation plant in the 

world. 

* As this book goes to press word comes of an arrangement just per- 
fected between Pictorial Clubs and Pathe Exchange, whereby Pathe, and 
its various exchanges, becomes physical distributor for Pictorial Clubs 
— like Pathe's similar arrangement with The Yale University Press 
Film Service for Chronicles of America Photoplays. Orders addressed 
to Pictorial Clubs, will reach the nearest Pathe Exchange. 



330 MOTION PICTURES FOR INSTRUCTION 



Titan of Chasms, The — 1 reel — Carter Cinema Producing 
Corp., c/o Evans Film Laboratories, 1476 Broadway, 
New York City. 

A scenic film of the Grand Canyon of Arizona. 

Vanishing Race, A — George Kleine Motion Picture Films, 
49 W. 45th St., New York City. 

In this reel are presented the Indians on the Blackfeet Reservation in 
their daily life — views of preparations for moving camp — the trip with 
tents and household goods through mountain trails and across streams 
to the new camp site — establishing the new home and the ceremonial 
dances that follow. 

With the Hopis and Navajos in New Mexico — 1 reel — 
Carter Cinema Producing Corporation, c/o Evans Film 
Laboratories, 1476 Broadway, New York City. 

Beauties of the desert country of the Southwest and life and habits of 
the Indians who make the famous Navajo blankets. 

Wonders of Yellowstone — 1 reel — General Vision Co., 104 
W. 42nd St., New York City. 
Showing the strange rock formations, the beautiful gorges and streams, 
hot springs and geysers of Yellowstone. 

Yosemite National Park — 1 reel — Pictorial Clubs, Inc., 350 
Madison Ave., New York City. 

The scenic beauties of one of our most wonderful National Parks. 

United States (Southern States) 

Down in Old Richmond — 1 reel — Carter Cinema Producing 
Corporation, c/o Evans Film Laboratories, 1476 Broad- 
way, New York City. 

Interesting views of the cotton section and old Southern homes. 

Florida — 2 reels — General Vision Co., 104 W. 42nd St., New 
York City. 

A picture of Florida's beautiful scenery, industrial development, cities, 

and her great seacoast. 



RENTAL FILMS 



331 



Last of the Seminoles — World Educational Film Co., 732 
S. Wabash Ave., Chicago, III. 

A film on the Florida Indians, produced in natural color; the dress, 
habits, means of livelihood, and homes of the few hundred remaining 
of the great tribe are shown, as well as the natural beauty of the coun- 
try. 

Playing in Florida — George Kleine Motion Picture Films, 
49 W. 45th St., New York City. 
The great recreation centers of Florida and the people who frequent 
them. 

South Atlantic States — 2 reels — General Vision Co., 104 
W. 42nd St., New York City. 
Views of the natural scenery, industries, cities, points of beauty and 
historical interest in Virginia, the Carolinas, Georgia, and Florida. 

Southern States — 2 reels — Society for Viswal Education, 
Inc., 327\ S. LaSalle St., Chicago, III. 

An attempt to indicate pictorially the typical characteristics and in- 
dustries of our southern group of states. The features included are the 
coastal strip, including the Florida Keys, the higher region approaching 
the Appalachian Mountains, the coal mining district of Birmingham, 
and the crops of cotton, sugar cane, rice, .peanuts and fruit, as well as 
the type of lumbering peculiar to the South. 

United States (General) 

The United States — A Ten Talent Nation — (Thirteen reels 
forming a complete series of text films, edited by Gen- 
evieve Lamson, M. S., and Edith Dunham Foster; pro- 
duced and distributed by The American Motion Picture 
Corporation, 126 W. 46th St., New York City.) 

Agricultural Resources — Ancestry and Classification of Oil — Animal 
Resources — Forest Resources — Life History of a Stream — Location, 
Climate and Boundaries — North America, the Center of the World 
Neighborhood — Mineral Resources — Rivers as Agents in Shaping the 
Surface of the Earth — Size and Topography — Soil Conservation — Topo- 
graphic Formation — Water Resources. 



332 MOTION PICTURES FOR INSTRUCTION 



# United States — 26 reels — Burton Holmes Lectures, Inc., 
N. Ashland Ave., Chicago, III. 

Alaska and the Arctic 

Alaska — 6 reels — Burton Holmes Lectures, Inc., 7610 N. 
Ashland Ave., Chicago, III. 

Reel 1, The Alaska Cruise: aboard a Princess Liner — Juneau — the 
Taku Glacier — Islands of Ice — Sitka — the Russian Church — American 
Indian School. 

Reel 2, A Summer Day in Skaguay: the Lynn Canal — Fourth of July 
— enormous flowers and berries — a deserted village — the dog bus — 
Bridal Veil Falls. 

Reel 3, Over the White Pass: from Skaguay to the Yukon — views of 
Dead Horse Gulch — Lake Bennett — Miles Canyon — the White Horse 
Rapids. 

Reel 4, Down the Yukon: from White Horse City to the Flats — views 
of Fort Yukon — Rex Beach's house at Rampart — Railway construction — 
Fairbanks. 

Reel 5, The Klondike Today: where Robert Service lived in Dawson — < 
old and new mining methods, including the hydraulic system — making 
real gold bricks 

Reel 6, Atlin, the Switzerland of British Columbia: Five Finger 
Rapids on the Yukon — views of Lake Atlin — a fox farm — and the 
Llewellyn Glacier. 

Physical Character and Political Geography — Alaska — 

1 reel — General Vision Co., 104 W. 42nd St., New York 
City. 

An educational presentation of a subject of which photographs are 

* The Burton Holmes series are for sale as well as rent. These films 
are for sale to schools at very low rates, but they are on inflammable 
stock. Schools requiring a large number of prints might be able to 
get them on non-inflammable stock by communicating with the Burton 
Holmes Laboratories. 

While the Burton Holmes Travelogues are not produced for the 
schoolroom, most of the material is highly educational. The titles are 
sometimes in a vein not in the spirit of classroom study, but the teacher 
can help these out somewhat. The notes upon these reels were taken 
for the most part from the catalog formerly issued by National Non- 
Theatrical Motion Pictures, Inc. 



RENTAL FILMS 



333 



rare. The pictures are combined with other studies in such a way as to 
make an informing reel. 

Commercial Geography — Alaska — 1 reel — General Vision 
Co., 104 W. 42nd St., New York City. 
Similar to the above with the emphasis on the commercial development 
of Alaska. 

Amundsen's Polar Flight — 3 reels — Pathe Exchange, 35 
W. 45th St., New York City. 

Kivalina of the Islands — 6 reels — Pathe Exchange, 35 W. 
45th St., New York City. 
Not a strictly classroom film, as it is a romance, but the scenes and 
occupations of arctic regions constitute valuable geographical material. 

With Lieutenant Commander Byrd, U. S. N. in America's 
Polar Triumph — 3 reels — Pathe Exchange, 35 W. 45th 
St. New York City. 

Canada 

Canada— 16 Reels — Burton Holmes Lectures, Inc., 7610 N. 
Ashland Ave., Chicago, III. 

Reel 1, Going to Halifax: glimpses of Nova Scotia — small villages and 
roadside scenes — Halifax. 

Reel 2, The Land of Evangeline : views of Acadia, with quotations from 
Longfellow's poem — apple orchards in bloom. 

Reel 3, From the Bay of Fundi/ to the St. Lawrence: pilgrimage to 
St. Anne de Beaupre — (St. John, New Brunswick — the Fundy tides and 
Montgomery Falls. 

Reel 4, Quaint Quebec: the old French city of North America — his- 
toric places — the Chateau Frontenac. 

Reel 5, Montreal, Old and New: the new Quebec Bridge — city scenes 
and views at the races — Chateau de Ramezay. 

Reel 6, Ottawa and Toronto: ruins of the Parliament Buildings — a 
garden party — views of the Ottawa River and Niagara. 

Reel 7, Georgian Bay to Winnipeg: the Thirty Thousand Islands — 
Ojibway Inn — the city of Winnipeg and the Fort William elevators — 
fishing on the French River. 

Reel 8, Regina to the Rockies: the great plains of Saskatchewan and 



334 MOTION PICTUEES FOR INSTRUCTION 



Alberta — views of Blackfeet camp — Bassamo Dam — Calgary — North- 
west Mounted Police. 

Reel 9, Beautiful Banff: hotels — swimming pools — and scenic beau- 
ties of the city in the Canadian National Park. 

Reel 10, With the Stony Indians: sports and customs of the Indians 
and the ceremonies whereby the Duke of Connaught was made a chief 
of the tribe. 

Reel 11, Exquisite Lake Louise: called the most beautiful spot in 
North America — views of nearby lakes and glaciers. 

Reel 12, The Yo ho Valley: the Canadian Yosemite — also views of 
Emerald Lake and Kicking Horse Canyon. 

Reel 13, On the Great Glacier: views of the Illeciilewaet and Asulkan 
Glaciers — on the Revelstoke Mountain Boulevard. 

Reel 14, Through Canadian Canyons: the Kettle Valley Railway — 
Kootenay Lake — along the Fraser River to Vancouver. 

Eeel 15, Vancouver and Victoria: the two great cities of British 
Columbia — highland games and dances at the Scottish Field Day at 
Vancouver. 

Reel 16, Winter Sports in Quebec: curling — skating — tobogganing. 

Farewell, The (Bruce Scenic) — Educational Film Ex- 
changes, Inc., 370 7th Ave., New York City. 
Beautiful views of sky, water and land. 

Great "White North, The — 4 reels — American Motion Pic- 
ture Corporation, 126 W. 46th St., New Yorfc City. 

A motion picture record of Rasmussen's trip toward the North Pole. 

In the Canadian Rockies — 1 reel — Carter Cinema Produc- 
ing Corporation, c/o Evans Film Laboratories, 1476 
Broadway, New York City. 

The wonderful resources and scenery of the country served by the 
Canadian Pacific Railroad. 

Central America 

Mexico— 3 reels— Burton Holmes Lectures, Inc., 7510 N. Ash- 
land Ave., Chicago, 111. 
Reel 1, The Cruise to Vera Cruz: the ocean trip from New York to 
Vera Cruz, with a glimpse of Havana's harbor — tropic seas and sunsets 
—activities aboard — Castle of San Juan de Ulua. 



RENTAL FILMS 



335 



Reel 2, Torrid Tampico: the great city of the Mexican oil fields, its 
skyscapers and the boom population that compares with the Alaskan gold 
rush. 

Reel 3, Mexican Oil Fields: a story of oil and the oil fields — boring 
a well — the strike — tanking, piping and shipping the oil. 

Mysteries of Yucatan — Fax Film Corporation, 10th Ave., 
55th St., New York City, and 910 S. Wabash Ave., Chicago, 
III. 

Views of the cities, people, and industries of an interesting country. 

Panama Canal, The — General Vision Co., 104 W. 42nd St., 
New York City. 
A reel presenting the Panama Canal as one of the greatest civic 
enterprises of the world and an outstanding achievement of the United 
States. 

White Indians, The — an Ethnological Anomaly — Pathe 
Exchange, 35 W. 45th St., New York City. 
Actual pictures of these little known people. 

SOUTH AMERICA 

South America — 5 reels — Barton Holmes Lectures, Inc., 
7610 N. Ashland Ave., Chicago, III. 

Reel 1, Who's Who in the Zoo: strange South American animals — 
boating on the Tigre near Buenos Aires. 

Reel 2, Up the Upper Parana: railway ferry on the Lower Parana 
River — views from a steamboat on a jungle river — the city of Posadas 
— Yerba Mate — Perto Aguirre. 

Reel 3, The Cataracts of Igwassw: through the tropic forests to the 
Niagara of South America — on the Brazilian-Argentine frontier. 

Reel 4, Going Down to Buenos Aires: a trip to South America, touch* 
ing at Pernambuco, Bahia, and Santos — in a gale at sea — the beauties of 
the great industrial and cultural center of South America. 

Reel 5, Rolling Down to Rio : views of the most beautiful natural 
harbor in the world — buildings, streets, magnificent avenues, and the 
Botanical Gardens of Rio de Janeiro — the city at night — the Sugar 
Loaf crowned with morning mists. 



336 MOTION PICTURES FOR INSTRUCTION 



EUROPE 

Alsace-Lorraine — 6 reels — Burton Holmes Lectures, Inc.. 
7510 X. Ashland Ave., Chicago, Til. 

Reel 1 3 Strassburg Redeemed: streets and buildings of the reconquered 
province of France — the Rhine Bridge — panoramas from the spire of 
the great cathedral. 

Reel 2. In Lovely Lorraine: views of village and country life of Lor- 
raine — tillers of the soil and embroiderers of fine cloth. 

Reel 3, In Happy Alsaee : beautiful vineyards, farms and villages in 
Alsace — festivals and processions. 

Reel 4, Frenchifying Metz: the overturned German statues replaced 
by new figures — the splendid German buildings and the old French 
quarter. 

Reel 5, The Sentence of the Sarre: the French occupation of the Sarre 
Valley — rich farms, great furnaces and foundries — a religious proces- 
sion in Bonn on the Rhine. 

Reel 6, Alsatian Days: a village welcomes its new priest — views of a 
patriotic festival and Datives in the National Costume — the Castle of 
Hoh Konigsberg. 

Ancient Rome — Fox Film Corporation, 10th Ave. and 55th 
St., New York City, and 910 S. Wabash Ave., Chicago, III. 
Views of the Eternal City: St. Peter's — the Castle of St. Angelo — the 
Colosseum — the Forum — other points of historic interest. 

Around Wells and its Cathedrals — Carter Cinema Pro- 
ducing Corporation, c o Evans Film Laboratories, 1476 
Broadway, New York City. 

An excellent film showing the old cathedral with its unique and beauti- 
ful architecture. The cloisters and the interiors are beautifully pre- 
sented. 

Austria — 4 reels — Burton Holmes Lectures, Inc., 7510 N, 
Ashland Ave., Chicago, 111. 
Reel 1, Down the Danube to Vienna: following the longest river in 
Europe from its source — views of villages, ruins and castles along its 
banks — scenes in Vienna — troops, the Archduke Charles and the imperial 
palace. 

Reel 2, In Innsbruck : views of a quaint city with dogcarts and in- 



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teresting native life — buildings and parks of the city and the sur- 
rounding mountains — a procession of honor — folk dances. 

Reel 3, In South Tirol: Lake Garda and its lemon orchards — proces- 
sion of Corpus Christi — a mountain railway and Stelvio, the highest 
crossroads of the Alps — the meeting point of Italy, Austria and Switzer- 
land, 12,000 feet high— Ortler Peak. 

Reel 4, Climbing the Austrian Alps: the dangers as well as the joys 
of mountain climbing; the city of Salzburg. 

Belgium — 9 reels — Burton Holmes Lectures, Inc., 7-510 N. 
Ashland Ave., Chicago, 111. 
Reel 1, Mirrors of Nature: artistic and beautiful scenes reflected in 
the calm waters of famous rivers and canals in Belgium, France, and 
Germany. 

Reel 2, Belgium Smiles Again: views of the ruined city of Dinant on 
the Meuse — unharmed Ostende and its beach, one of the world's great 
resorts. 

Reel 3, Bustling Brussels: the Royal Palace — the Bourse and Boule- 
vard life — the making of fine lace — views of the Palace of Justice — 
guild houses — the city hall. 

Reel 4, Martyred Cities : showing the devastation of war in the French 
and Belgian cities of Ypres, Arras, Verdun, and Rheims. 

Reel 5, Artistic Antwerp : the Cathedral and boulevards — Brabo Foun- 
tain and Rubens' Monument — art galleries and parks — harbor works 
along the Scheldt and the funeral cortege of a city councilor. 

Reel 6, Beautiful Bruges: the beautiful canals and bridges of the 
Flemish Venice — the German submarine base — the belfry and city hall. 

Reel 7, In Flanders: ineradicable marks left by the war — Flanders 
Fields — ruined Dixmude and scenes along the Yser — Ghent and the 
room where the treaty of the War of 1812 was signed — the Grand 
Beguinage of Ghent. 

Reel 8, Heroic Liege: where the World War began — the River Meuse 
— the devastation caused by the great guns — the shattered Fort of 
Loncin — Malines and the Cathedral of Cardinal Mercier. 

Reel 9, In Rural Belgium : Views of a country that is still like a child's 
picture book — dogcarts — windmills — wooden shoes — strange costumes — 
the village of Wortel — a picturesque festival for returning soldiers. 

Chase, The — (Ski Running in the Alps)- — Educational 
Film Exchanges, Inc. 729 7th Avenue, New York City. 
Fifty of the world's champion ski-jumpers, performing their greatest 



338 MOTION PICTURES FOR INSTRUCTION 



feats of skill and daring, make this film a thrilling one. Photographed 
near St. Moritz in the Alps. 

Chateaux of France — Society for Visual Educational, Inc., 
327 S. LaSalle St., Chicago, III. 
Views of some of the beautiful and historic castles of France — a 
Moravian wedding and celebration are included. 

Cheddar and Glastonbury — 1 reel — Carter Cinema Produc- 
ing Corporation, c o Evans Film Laboratories, 1476 
Broadway, New York City. 
A pilgrimage to Glastonbury and is ancient abbey, the cradle of 

Christianity in England — the village of Cheddar, the home of Cheddar 

Cheese. 

Coaching Through Conway in Wales — 1 reel — Carter 
Cinema Producing Corporation, c o Evans Film Labora- 
tories, 1476 Broadway, New York City. 
A beautiful scenic of the Welsh country. 

Czechoslovakia — 5 reels — Burton Holmes Lectures, Inc., 
7510 X. Ashland Ave., Chicago, III. 

Reel 1, The Real Bohemia: the Sokols or great gymnastic meets — the 
home of Kubelik — peasant life and native dances. 

Reel 2, In Picturesque Prague: views in the old city with the narrow 
streets and the Rathouse and the loth century clock — the great buildings 
of the new city — where the famous Bohemian glass is made — laborers 
and soldiery — scenes along the Vetava River and the mountains outside 
the city. 

Reel 3, From Carlsbad to Moravia: the great health wells at Carlsbad 
and Marienbad — dog-drawn carts — the life, costumes and dances of the 
peasants. 

Reel 4, Present-Lay Prague: the Hradsany — the Tyn Church — the Na- 
tional Theatre — the Charles Bridge — the Cathedral of St. Vitus and the 
River Vetava. 

Reel 5, Country Life in Bohemia: scenic beauty and the rich, cul- 
tivated lands — cattle and crops — villagers at work and play — native 
dances. 

England — 12 reels — Burton Holmes Lectures, Inc., 7510 X. 
Ashland Ave.. Chicago, III. 



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Reel 1, The Sunny South of England: Land's End — Ilfracombe — Fal- 
mouth — Looe — Torquay — Weymouth — Bournemouth. 

Reel 2, Glimpses of English Town and Country: Stonehenge — Wells 
Cathedral — Salisbury — Oxford — Cambridge — Stratford. 

Reel 3, With the American T. M. C. A. in London: American soldiers 
in England — Eagle Hut and the Washington Inn which was opened by 
the Duke of Connaught — Fourth of July in London. 

Reel 4, St. Dunstan's Happy Blind: the university for the sightless in 
London — Otto Kahn's mansion turned into a training school for 
blinded soldiers — work of the blind. 

Reel 5, The War Women of England: Trafalgar Square — Florence 
Nightingale — Army Service Corps — window washers — bus and aero 
workers — 3,000 war workers at Buckingham Palace. 

Reel 6, London Plays Ball: British Royalty and nobility witness a 
game of baseball between the U. S. Army and Navy. 

Reel 7, Seeing Sights in London: Westminster Abbey — Houses of 
Parliament — the Horse Guards — No. 10 Downing Street — the Catholic 
Cathedral — Whitehall — Admiralty Arch — Fire Monument — Guildhall — 
St. Mary-le-Bow— St. Paul's. 

Reel 8, Some British Bits Well Done: a school for Army Cooks — an 
aviation camp — a tank garage — a war-dog college. 

Reel 9, With Uncle Sam's Submarine Chasers: whence the Mayflower 
sailed — Francis Drake and the Bowling Green — submarine chasers drop- 
ping depth bombs — sea geysers — Admiral Sims. 

Reel 10, Around About London: the Thames at Richmond — Windsor 
Castle — Hampton Court — Aboard a Houseboat — the Thames in London 
— Houses of Parliament — Lambeth — the Embankment — Street traffic, 
1902 to 1918. 

Reel 11, From Blarney to Broadstairs: the feat of kissing the famous 
stone — Queenstown — the Lusitania graves — a Ford for cranking aero- 
planes — in Plymouth Harbor — Lord Northcliffe. 

Reel 12, A Fairy Foreland: a picturization of Tennyson's poem "The 
Brook." 

France — 28 reels — Burton Holmes Lectures, Inc., 7610 N. 
Ashland Ave., Chicago, 111. 

Reel 1, Gay Paree in Wartime: the Paris Opera— the Champs Elysees 
• — Arch of Triumph—Notre Dame — the Hotel des Invalides — Guynemer's 
plane — Napoleon's tomb — the Louvre. 

Reel 2, Glorious Versailles : the palace and gardens of the home of the 
Bourbon Kings — the Grand Trianon — Le Petit Trianon — the 14th of 
July in Paris, 1918 (Bastille Day). 



340 MOTION PICTURES FOR INSTRUCTION 



Reel 3, With the Yanks in France: Crusaders in Orleans — Joan of 
Arc — aviators at Issoudun — American locomotives — the S. 0. S. at 
Tours and the Cathedral — army bakery at Dijon. 

Reel 4, Across France with the Yankee "Gas Hounds": St. Nazaire — 
Saumur — the Castle of Angers — the ancient drawbridge — The Loire River 
— Amboise — Bloise — the Chateau — convoys to the front. 

Reel 5, Chateau-Thierry and Beyond: with the Yanks near the front 
in July 1918 — German loot — the berth of a Big Bertha — artillery in ac- 
tion — camouflage and filmed history. 

Reel 6, American Women in France: American fund for French woun- 
ded — American Hospitals at Neuilly — tent hospital at Auteuil — nurses 
— Young Women's Christian Association — Aix-les-Bains — "Y" Girls. 

Reel 7, The Miracle of Montoir: the building of the supply depot near 
St. Nazaire — a polyglot army of laborers — the service of supply. 

Reel 8, Salvation Army on the Job: Commander Evangeline Booth — 
the passage and in the War Zone — the McAllister Sisters — opening a 
canteen — meetings near the front — on the edge of the Argonne. 

Reel 9, Paris, the Magnificent : the Eiffel Tower — Arch of Triumph — 
Alexander Bridge — the art palaces and the Place de la Concorde 
Madeleine — the Opera — Cafe de la Paix — the Boulevards and the Seine — 
Notre Dame — Cluny — Luxembourg — Pantheon — Sacre Coeur. 

Reel 10, The Doughnut That Did It: the war service of the doughnut — 
the epidemic — a doughnut factory at the front. 

Reel 11, Uncle Sam, Salvager: the great salvage plant of the A. E. F. 
at Tours — salving 100 million dollars worth of materials — mountains of 
clothing — the world's biggest tailor shop — millions of socks and shoes. 

Reel 12, In the Basque Country: the French slopes of the Pyrenees 
— the land of Loyola and Francis Xavier — the game of pelota — the 
world's smallest republic, Andorra, and its president — mountain scenery 
and waterfalls. 

Reel 13, In Brittany: the land of sincere piety — the Fair at La 
Faouet — the Pardon of Ste. Barbe — the Pardon of Our Lady of Baud — 
Pont Aven. 

Reel 14, Mirrors of Nature: described as Reel 1 under Belgium. 

Reel 15, Parisian Faces and Figures: striking studies of French 
physiognomies; superb panoramas from the Eiffel Tower. 

Reel 16, Martyred Cities: described as Reel 4 under Belgium. 

Reel 17, Battlefields of France: the ruined coal mines of the Lens 
Basin— Chinese Labor Corps at play — Fort of La Pompelle near Rheims 
— a tank in a trench; German prisoners at work. 

Reel 18, A Cold Star Pilgrimage: to the battlefields of Chateau- 



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Thierry — Belleau Wood — the Village of Vaux — the Argonne — 22,000 
crosses in the American Cemetery at Romagne. 

Reel 19, Parisian Holidays: the 14th of July in Paris, 1918 and 1919, 
and the transition from despair to victory— the 4th of July in the 
Pershing Stadium. 

Reel 20, The Land of Pardons: scenes in Brittany — curious costumes 
and caps — making wooden shoes — the pardon of St. Anne of Auray — 
four Bishops in procession. 

Reel 21, Pyrenean Perspectives: penetrating the Pyrenees by trolley — 
mountain hamlets and holy places — valleys and peaks. 

Reel 22, In Finistere: the Sardine Fleet — the pilgrimage to St. 
Roman's shrine — the pardon of St. John of the Finger — Brittany cos- 
tumes and bridal gowns. 

Reel 23, The Snoiv-Bound Pyrenees: midwinter scenes in the moun- 
tains — hiking in a storm — the Cirque of Gavarnie. 

Reel 24, Bordeaux to Lourdes : a rainy day in Bordeaux — fox hunting 
in the sunshine — the basilica and the grotto of Bernadette at Lourdes. 

Reel 25, Along the Riviera: roads and beaches and cities of the 
Azure Coast of France. 

Reel 26, Monte Carlo: the principality of Monaco — the castle of the 
Prince — Street scenes — pigeon shooting — the great pleasure houses — the 
Casino — its gaming tables and the terraces and gardens. 

Reel 27, Marseilles : France's great Mediterranean seaport — views of 
the harbor and Cannebiere — the "Transbordeur" Bridge and the Funi- 
cular to Notre Dame de la Garde. 

Reel 28, Nice and Cannes: pleasure cities of the Riviera showing the 
Casinos, Cafes, Parks, Gardens and the "Battle of Flowers." 

From London to Paris by Air — Society for Visual Educa- 
tion, Inc., 327 S. LaSalle St., Chicago, III. 
Unusual photographs of the English Channel and the cities and towns, 
as well as natural scenery, en route from London to Paris. 

Germany — 10 reels — Burton Holmes Lectures, Inc., 7510 N. 
Ashland Ave., Chicago, III. 

Reel 1, Imperial Berlin: a voyage from Hoboken, U. S. A., to the 
harbor and to the City of Berlin — famous streets — buildings — gardens — 
monuments — the soldiers and the emperor. 

Reel 2, The Spreewald near Berlin: life on the River Spree — quaint 
costumes of the people of the forest — Nuremberg — an English boat-race 
at old Heidelberg. 



342 MOTION PICTURES FOR INSTRUCTION 



Reel 3, Munich, the Magnificent : views of the streets and buildings of 
the Bavarian capital — women laborers and children playing among flocks 
of tame pigeons — the Izar River and the Corpus Christi procession — 
King of Bavaria. 

Reel 4, In Beautiful Bavaria: quaint peasants — tourists in the salt 
mine — the River of Acke and the Koenigs See — Germany's most beauti- 
ful lake — the Austrian Tirol. 

Reel 5, Mirrors of ~Sature: described as Reel 1 under Belgium. 

Reel 6, Yankee Watch on the Rhine: the American occupation of Cob- 
lenz — the Flag on Castle Ehrenbreitstein — the bridge of boats — U. S. 
troops on parade. 

Reel 7, The Franco-British Rhine: the Rhine Bridge at Worms — the 
Senegalese Watch on the Rhine at Mainz — Rudesheim — the Germania 
monument — British soldiers at Cologne and the great cathedral. 

Reel 8, The Lure of the Lorelei: the Rhine from Bonn to Bingen — 
Drachenfels — Andernach — castles of the Rhine and the Rock of the 
Lorelei — the Pfalz and Rheinstein. 

Reel 9, The Sentence of the Sarre: Described as Reel 5 under France. 

Reel 10, Moselle Memories : the Moselle River from Treves to Cochem ; 
vertical vineyards; views of the valleys and hills: American graves 
in the churchyard at Cochem. 

Greece — 2 reels — Burton Holmes Lectures, Inc.. 7510 N. Ash- 
land Ave., Chicago, III. 

Reel 1, In Classic Greece: Patras — Eleusis — through the Corinthian 
Canal — Piraeus — Athens — the Acropolis — Evzones on parade — high div- 
ing at Phaleron. 

Reel 2, In Modem Athens: the great Stadium — the Olympic Games and 
the Marathon Race. 

Hampton Court Palace — 1 reel — Carter Cinema Producing 
Corporation, % Evans Film Laboratories, 1476 Broad- 
way, New York City. 
Views of the historic structures: great chambers of the palace: the 
grounds, vine arbor, lily ponds, and old English gardens. 

In Old England — George Kleine Motion Picture Films. 49 

W. 45th St., New York City. 
Views of the populous island where every foot of soil is cultivated and 
landscaped — English roads and quaint houses — the banks of the Thames 
and its bridges and locks. 



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Ireland — 3 reels — Burton Holmes Lectures. Inc., 7510 N. Ash- 
land Ave., Chicago, III. 

Reel 1, A Scotch-Irish Reel: shearing Cheviot sheep — a school in the 
Selkirk hills — Crinan Canal — the Isle of Skye — Staffa — Gingal's Cave — 
Iona — Belfast Volunteers. 

Reel 2, In Old Ireland: Belfast and Dublin — the Horse Show — Glen- 
dalough — Achill Island — the Ballybunion Mono Railway. 

Reel 3, From Blarney to Broadstairs : described as Reel 11 under Eng- 
land. 

Italy — 7 reels — Burton Holmes Lectures, Inc., 7510 N. Ash- 
land Ave., Chicago, III. 

Reel 1, Southern Italy: Naples — pilgrims from Monte Vergine — Sor- 
rento — the Tarantella — Corpus Christi in Amalfi. 

Reel 2, The Island of Capri: famous dancers — festival of San Costanzo 
— the Blue Grotto — warnings from Vesuvius. 

Reel 3, Vesuvius in Eruption: actual volcanic activity — rains of ashes 
and cinders — rivers of Lava — crushed villages — refugees — Pompeii. 

Reel 4, From the Tiber to the Piave: St. Peter's — Castle of St. Angelo 
— The Coliseum — the Forum — scenes of Rome — front line trenches. 

Reel o, A Day in Florence: Along the Arno — the Duomo — the Ponte 
Vecchio — physical exercises of the war-wounded soldiers. 

Reel 6, All Aboard for Brindisi: Egypt to Italy — leaving Alexandria 
— interesting fellow passengers — Brindisi — the terminal pillars of the 
Appian Way — up the Adriatic. 

Reel 7, Lake Maggiore: views of northern Italy and the Alps — hang- 
ing gardens — Borromean archipelago — Arona — Castle of Borromean. 

Norway — 1 reel — Burton Holmes Lectures, Inc., 7510 N. Ash- 
land Ave., Chicago, III. 
Bergen — by cariole through the Romsdal — a canal boat in the Tete- 
marken Canal — the Great Fjords — Hammerfest — Bird Rock — natives of 
Lapland. 

Old London — 1 reel — Carter Cinema Producing Corporation, 
c/o Evans Film Laboratories, 1476 Broadway, New York 
City. 

Mansion House — Guildhall — Bank of England — Ludgate Circus — St. 
Paul's Cathedral. 



Old Spain — Fox Film Corporation, 10th Ave. and 55th St., 



344 MOTION PICTURES FOR INSTRUCTION 



New York City, and 910 S. W 'abash Ave., Chicago, III. 

Beautiful and historic points in Granada and scenes showing the life 
and customs of the natives. 

Paris the Beautiful — 1 reel — Pwi orial Clubs, Inc., 350 Mad- 
ison Ave., New York City. 
Views of the buildings, monuments, boulevards, and parks of Paris. 

Portugal — 1 reel — Burton Holmes Lectures, Inc.. 7510 N. 
Ashland Ave., Chicago, III. 

Madrid to Madeira : life in the Spanish capital and in Lisbon — a 
bloodless Portuguese bullfight — Funchal in Madeira — coasting in the 

tropics. 

Scotland — 3 reels — Burton Holmes Lectures, Inc., 7610 N. 
Ashland Ave., Chicago, III. 

Reel 1, Glasgow to Edinboro: the Clyde River — the Trossachs — Loch 
Lomond — Edinboro Castle — Prince's Street — the arrival of the King and 
Queen. 

Reel 2, Bonnie Scotland: the Forth Bridge — Aberdeen — through the 
Caledonian Canal — the Locks of Fort Augustus. 

Reel 3, A Scotch-Irish Reel: described as Reel 1 under Ireland. 

Sculptor's Paradise, A — Carrara, Italy — Fox Film Cor- 
poration, 10th Ave. and 55th St., New York City, and 
910 8. Wabash Ave., Chicago, III. 

The marble quarries of Carrara, the village, the workers — views of 
famous masterpieces of architecture, memorials, etc.. made of Carrara 
marble. An unusually beautiful and instructive picture. 

Spain — 9 reels — Burton Holmes Lectures, Inc., 7510 N. Ash- 
land Ave., Chicago, III. 

Reel 1, Madrid to Madeira: described as Reel 1 under Portugal. 

Reel 2, Palma de Majorca: the capital of the Balearic Islands — 
senoritas wearing the "Rebozillo" — motoring in Majorca — views of 
natives, convents, old olive groves — a she-goat suckling a baby. 

Reel 3, In New Madrid: views of the modern city — the post office — 
the Square of Puerta del Sol, the center of the city — monuments and 
military display. 

Reel 4, Spanish Children: Children of the cities of Seville and Granada 



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and the villages of Andalusia — peasant children — the costumed children 
of the plutocracy at the Feria. 

Reel 5, In Barcelona: views of the harbor and city — the Columbus 
Column — a religious procession — the Rambla promenade. 

Reel 6, Spanish Holiday®: A county fair in Seville showing the pic- 
turesque costumes and prize cattle — a royal birthday celebration in 
Madrid — Spanish notables. 

Reel 7, Toledo and Segovia: views of the great Roman Aqueduct at 
Toledo — monuments, streets, churches of both cities. 

Reel 8, Seville in Fair Time: burial place of Columbus — the present 
Queen of Spain — the bull-ring and other points of interest — Spanish 
girls dancing, donning the mantillas, etc. 

Reel 9, In Old Granada: the old Moorish city with views of Alhambra 
Hill — cave dwellings of the gypsies — the River Darro and the Court of 
Myrtles and Zions. 

A Trip up the Seine — 1 reel — Society for Visual Education, 
Inc., 327 S. LaSalle St., Chicago, III. 
Viewi of the industries lining the great waterway, the Cathedral 
of Notre Dame, bridges, government buildings and markets of Paris 
as seen from the river. 

RED CROSS FILMS 

Society for Visual Education, Inc., 327 S. LaSalle St., 
Chicago, 111. 

School Correspondence. 

Florence, Italy — Rome — Naples — Sezze Romano — Greece — Constanti- 
nople — Venice — Roumania — In Prague — France — Belgium — Czecho - 
Slovakia — Albania — Montenegro — France — The Sahara — Italy's Sons of 
the Sea — America Junior (2 reels). 

Little Journeys Through Other Lands. 

Normandy — Tatra — Brittany — Poland — Zuider Zee — Venice — Riviera 
— Marseilles — Quaint Rouen, France. 

miscellaneous red cross films 



Amid Archangel Snows — The Balkans — Queen of Roumania 
— Heroes All — Serbia — Fall of Kiev — Over the Soviet Line — 



346 MOTION PICTURES FOR INSTRUCTION 



Czechoslovakia — Spirit of Service — Mrs. Brovrn versus the 
High Cost of Living — Every Swimmer a Life Saver — Voca- 
tional Training for Blind Soldiers — Russia — The Boy Scout 
and His Uniform. 



POST TRAVEL PICTURES 

Chadwick Pictures Corporation, 729 7th Ave., New York 
City. 

Children of Other Lands. 

Children of Holland — Children of Serbia — Children of 
Poland — Children of Scandanavia — Children of Bohemia — 
Children of Hungary — Children of The Balkans — Children of 
Germany — Children of Roumania. 

In Other Lands. 

Hungary — Lapland — Norway — Greece — Southern Europe — 
Roumania — Bohemia — Sweden — Poland — Serbia — Holland — 
The Balkans — Austria — Germany — Italy — French Riviera. 

WEST INDIES 

Bermuda — 2 reels — Burton Holmes Lectures, Inc., 7510 N. 
Ashland Ave., Chicago, III. 

Reel 1, Beautiful Bermuda: the city of Hamilton and its environs 
from an airplane — tent pegging at Government House. 

Keel 2, A Little Atlantis: the Bermudas and their submerged coral 
reefs from the air — St. George Frascati — Racing dinghys. 

Cuba — 2 reels— Burton Holmes Lectures, Inc., 7510 N. Ash- 
land Ave., Chicago, III. 

Reel 1, Xature's Contrasts: a comparison of New England snow scenes 
and tropic Cuban scenes, titled with verse. 

Reel 2, Under Cuban Skies: Havana — its harbor, boulevards, clubs, 
palaces and cathedral. 



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St. Thomas, Uncle Sam's New Ward — 1 reel — American Mo- 
tion Picture Corp., 126 W. 46th St., New York City. 
The Caribbean Island and the changes made in it since under United 
States protection. 

Toilers of the Equator — (Coffee and Hemp) — Fox Film 
Corporation, 10th Ave., and 55th St., New York City, and 
910 S. Wabash Ave., Chicago, III. 
The growing of coffee and hemp and their preparation for shipment, 

in the Kenva colony. 

West Indies — 1 reel — Burton Holmes Lectures, Inc., 7510 N. 
Ashland Ave., Chicago, III. 
Tropical Nassau : glimpses of Port of Spain in Trinidad and of Bar- 
bados — fashions and dancing in Nassau — opening palm buds — pelicans 
at play. 

OTHER ISLANDS 

Australia — 9 reels — Burton Holmes Lectures, Inc., 7510 N. 

Ashland Ave., Chicago, III. 

Reel 1, Sydney, the Antipodean Metropolis : Sydney Harbor and Syd- 
ney Head — the Circular Quay — Australian skyscrapers and parks. 

Reel 2, A Trip to the Jenolan Caves of Australia: by rail to Hawkes- 
bury Agricultural College — the Grand Canyon of Katoomba — the Great 
Arch in the Caverns — views of Sydney. 

Reel 3, Melbourne, the Magnificent: the people, buildings, streets, 
and parks of the capital city of New South Wales. 

Reel 4, Round About Melbourne: interesting scenes showing the Cup, 
Sports, a Dog Show, Tag Day, and Mme. Melba at home at Coombe 
Cottage. 

Reel 5, Adelaide, Capital of South Australia: the third largest city — 
views and up-to-date items — Australian volunteers. 

Reel 6, Round About Adelaide: young Australians and Australian 
swimmers — homes and vineyards — the seashore and the races — eucalyp- 
tus and sheep. 

Reel 7, Hunting Kangaroos from Motor Cars: kangaroo close-Ups in 
the Zoo — the emu bird — exciting motor pursuit of wild kangaroos — 
baby kangaroos in the pouch — Australian swimmers. 

Reel 8, Along the Queensland Coast: Sydney to Brisbane by sea — 



348 MOTION PICTURES FOR INSTRUCTION 



Towusville — a "Blackfellow" camp — the Aboriginal Australians and the 
stolid blacks of the Never-Never Land. 

Reel 9, The Cruise of the Aki Maru: a trip from China to Australia — 
ship life and the ingenious ways of the Jap tars — crossing the Equator 
— Father Neptune comes aboard — good comedy at sea. 

Fiji Islands — 5 reels — Burton Holmes Lectures, Inc., 7510 N. 
Ashland Ave., Chicago, III. 

Reel 1. Sailing the South Seas to Fiji: aboard the Niagara — Suva 
the capital — faces and figure? of the islanders — sports and dancing the 
Meke-meke for Mine. Melba on the deck. 

Reel 2, Sights of S>n;a: life and labor in Suva — giant turtles — the 
constabulary — church parade — tropical scenery. 

Reel 3, Methodized Cannibals: along the tropic rivers — converted 
native children — a Methodist mission — the ,, Lali'" as a church bell — a 
native village. 

Reel 4, Fiji Does Its Bit : the rubber and banana industries — native 
labor corps starting for France — farewell ceremony at Suva and ashore 
at Honolulu. 

Reel 5, Fire Walkers at Beqa : unique pictures of an ancient and 
rarely performed sacred rite of the Fiji Islanders — terrifying war 
dance — actual walking upon superheated stones. 

New Zealand — 5 reels — Burton Holmes Lectures, Inc., 7510 
X. Ashland Ave., Chicago, III. 

Reel 1, Aukland, the Metropolis of New Zealand: views of the city — 
the Grafton Bridge — Mount Eden — Ellerslie race course — boat-races — 
beside the silver sea. 

Reel 2, Rotorua. the Yellowstone of the Antipodes in Neto Zealand: 
the Government baths — Wakarewarewa — hot springs and geysers — 
Maori children — Wairaki — the great Waimangu geyser — after the out- 
burst — a unique inn. 

Reel 3, Among the Maoris of Xew Zealand: the Polynesian population 
— Maori art and architecture — the ancient native fort — tattooed heads 
— the "tiki'' — rubbing noses — the poi dance — the haka-haka. 

Reel 4, Wellingioyi and the Xorth Island of yew Zealand: views of 
Napier— New Plymouth — Mount Edmont — the Wanganui River — kauri 
trees — apples — tomatoes — prize cattle on parade. 

Reel 5, Doicn South in yew Zealand: the city of Christchurch in the 
South Island — Scottish dances in Dunedin — mid-winter seaside resorts 
— Lake Wakatipu — Skipper's Gorge — Maori sports — hurdling in canoes. 



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Samoa — 2 reels — Burton Holmes Lectures, Inc., 7510 N. Ash- 
land Ave., Chicago, III. 

Reel 1, Today in Samoa : the harbor at 'Apia — Vailinia; Stevenson's 
home — tomb of Tusitala — Samoan cocoanuts — making copra — dancing 
the siva-siva. 

Reel 2, Yesterdays in Samoa: pictures of old Samoan life that cannot 
be duplicated today — a "king's kava ceremony" — the taupa girls — 
ancient war dance — Ella Wheeler Wilcox distributing leis. 

Moana of the South Seas — 6 reels — Famous Players-Lasky, 
485 Fifth Ave., New York City. 
Not primarily designed for the classroom, but one of the greatest 
geographical films ever produced. 

Tasmania — 1 reel — Burton Holmes Lectures, Inc., 7510 N. 
Ashland Ave., Chicago, III. 

Cape Raoul — the Tasman Peninsula — Hobart, the capital — seeing the 
town by tram — a country school — the Russell Falls — the Tamar River. 

Tonga Islands — 1 reel — Burton Holmes Lectures, Inc., 7510 
N. Ashland Ave., Chicago, III. 
Cave of the Swallows — Vavau — Haapai — Nukualofa — making tapa 
— the King of Tonga — dancing the laka-laka — South Sea surf. 

EAST INDIES 

Dutch East Indies — 9 reels — Burton Holmes Lectures, Inc., 
7510 N. Ashland Ave., Chicago, III. 

Reel 1, Batavia, the Javanese Capital: landing at Tandjong Priok — 
the Dutch army — the "rice table" — life and customs of the Dutch and 
J avanese. 

Reel 2, A Journey through Java: by rail to Solo — in the Kraton of 
Soesoehoenan — the royal ballet — a serio-comic military review. 

Reel 3, Surabaya, the Busy Burg of Java: the commercial metropolis 
of the Dutch East Indies. 

Reel 4, In the Garden of the East: glimpses of the Island of Java — 
Batavia — gardens of Buitenzorg — sugar fields — strolling entertainers. 

Reel 5, A Polynesian Odyssey : unusual pictures of Bali and its people. 

Reel 6, Boro-Bodor and the Bromo: the great carved pyramid of Boro- 
Bodor and active volcanic crater of Bromo, smoking in the "Sand Sea." 



350 MOTION PICTURES FOR INSTRUCTION 



Reel 7, In Batik Land: life, customs and industries of the people where 
the waxing and dyeing of Batiks originated. 

Reel 8, Rural Java: farming and gathering of Kapok — cultivation of 
chinchona trees — rice cultivation. 

Reel 9, Watching the Wayangs: town of Djokgakarta — the filmless 
movies of the Orient, shadow pictures — the archery of aristocrats — 
town of Surabaya. 

Philippines — 31 reels — Burton Holmes Lectures, Inc., 7510 
N. Ashland Ave., Chicago, III. 

Reel 1, Old and New Manila: the Manila of 1913 — the New Luneta — 
Rizal Monument — Army and Navy Club — Ernita Y. M. C. A. — old walled 
city. 

Reel 2, Bilibid, the Sing Sing of the Philippines: a model prison in 
Manila — the military drill — how the prisoners are fed — the Bilibid 
band. 

Reel 3, The Pasig River: the waterfront in Manila and the suburbs — 
the upper portion of the river and beautiful scenery. 

Reel 4, The Lowlands of Luzon: country life in the Philippines — 
peculiar fruits and hemp — industry and natives. 

Reel 5, The Dog Eaters of Benguet: at Baguio, the summer capital — 
the Benguet Road — school for Igorot girls. 

Reel 6, Hiking with the Igorots: over the trails of the mountainous 
province of Luzon, from Baguio to Bontoc. 

Reel 7, Among the Head Hunters: an Igorot canayo at Bontoc — the 
Constabulary — the Ifugao Country — Banaue — the Rice Terraces. 

Reel 8, Cruising Through the Philippines : on a Coast Guard cutter — 
Romblon — Leyte — Iloilo — Cebu — Zamboanga — San Romon Prison. 

Reel 9, The Moros of Mindanao : scenes at Lake Lanao at the gathering 
of the Moro Dattos and Sultans. 

Reel 10, Visiting the Sultan of Sulu: Jolo, chief city of the Sulu 
Islands — views of the Sultan and curious customs. 

Reel 11, The Penal Colony of Palawan: views of the penal colony and 
along the uncharted coast to the Underground River on the Governor- 
General's yacht. 

Reel 12, Our Filipino Fightmg Forces: with a mountain battery of the 
Philippine scouts— the military play ball and a senator throws the 
first ball. 

Reel 13, The Philippine National Guard: A cantonment near Manila — 
the modern city — students at drill — Red Cross Filipinas. 

Reel 14, The Belgian Sisters of Luzon: teaching tiny Filipinas to 



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make lace — Red Cross work in Manila — the annual carnival and chil- 
dren's day — the candidates for the queenship. 

Reel 15, Two Ends of a Rope: the complete rope industry through 
the cutting of the "abaca," preparation and manufacture, to the ship- 
ment of the finished product. 

Keel 16, The Gorge of Pagsanjan: Santa Cruz near Manila — Lake 
Laguna covered with lotus — rafts of cocoanuts — going up the gorge 
against the rapids — the dash down the river. 

Reel 17, In a Manila Wrapper: the tobacco industry — cigars and ciga- 
rettes in the making. 

Reel 18, Cane Fields of Colamba: Sugar industry — old and new meth- 
ods — picturesque plantation lands and workers. 

Reel 19, Canning Scenery: Herford T. Cowling photographing Phil- 
ippine scenery for Burton Holmes — his field dark room and native 
helpers. 

Reel 20, Making Summer Sombreros in Manila: the hat industry — 
panamas made of buri palm fibre — Lukban, the hatter's town — the toil- 
ers and the exquisite headgear they produce. 

Reel 21, Zamboanga, General Pershing's Headquarters in the Philip- 
pines: the chief city of Mindanao — modern Zambo — plazas and boule- 
vards — Mayor Brown and his Orangoutang. 

Reel 22, Filipino School Days: Aguinaldo in his town home — high 
school cadets — a field day — dances of the nations — drills and exercises. 

Reel 23, Tagalog Toilers: the rice industry — the salt industry — 
cacao — breadfruit — papayas. 

Reel 24, Frocks and Frills of the Filipinas: costumes of the young 
women of Manila — social amenities of the Tagalog upper classes — 
— heiresses of Philippine culture. 

Reel 25, Up-to-date Manila: the modernized capital — clubs — high 
buildings — rapid transit — fire tugs in action — a Manila sunset. 

Reel 26, Lawmakers of the Philippines: Jose Rizal — Manual Quezon 
— Moro Senators — Speaker Osmena — the Constabulary — Don Emilio 
Aguinaldo — Moro Dattos — the Sultan of Sulu — the American Governor- 
General — Filipino West Pointers — at a grand reception in Manila. 

Reel 27, Oriental College Boys and Co-eds: college life — glee club — 
dramatic club — cadet drill — co-eds playing ball — arts and crafts — weav- 
ing baskets and chinelas — an excursion to the Taal Volcano. 

Reel 28, An Oriental Sing Sing: the Bilibid Prison and the inmates at 
work — making Philippine wicker chairs — artistic furniture — the daily 
retreat — the honor battalion — the calisthenic drill — in the women's ward. 

Reel 29. Cocoanuts and Copra: the most picturesque industry in the 



352 MOTION PICTURES FOR INSTRUCTION 



Philippines — palm groves and cocoanut rafts — cracking and drying the 
meat — how to eat a mango. 

Reel 30, Luzon Lingerie: designing and making exquisite under- 
garments — in a Manila factory — in Bilibid Prison — at Louise Browu's 
country training school for needle-workers. 

Reel 31, Around About Manila: passing the island of Corregidor — 
carnival crowds — pilgrimage to Antipolo — the miraculous image — na- 
tive troops at Fort McKinley — Aguinaldo — Cavite. 

HAWAII 

Commercial Geography of Hawaii — 1 reel — General Vision 
Co., 104 W. 42nd St., New York City. 
Hawaii is usually thought of as a playground, but this reel ex- 
hibits the islands as a commercial entity, giving it its place in the 
world of industry. 

Physical Character and Political Geography of Hawaii 
— 1 reel — General Vision Co., 104 W. 42nd St., New York 
City. 

Famous seacoasts, volcanos and rivers of these interesting islands 
are presented in this reel as a geographical study for use in schools. 

Everlasting Fire — 1 reel — Carter Cinema Producing Cor- 
poration, c/o Evans Film Laboratories, 1476 Broadway, 
New York City. 
The volcano of Kilauea, with a close-up of the crater. 

Hawaiian Glimpses — 1 reel — Carter Cinema Producing Cor- 
poration, c/o Evans Film Laboratories, 1476 Broadway, 
New York City. 

The grass hut home of a Hawaiian family — natives at work and play 
— men making and mending nets — women weaving leaves of the Lauhala 
tree into mats and hats — making poi, the favorite native food — Hawaiian 
scenery. 

Hawaii — 5 reels — Burton Holmes Lectures, Inc., 7\510 N. Ash- 
land Ave., Chicago, III. 
Reel 1, In Happy Honolulu: Decoration Day — the hula-traffic-cop — 



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Samoa — 2 reels — Burton Holmes Lectures, Inc., 7510 N. Ash- 
land Ave., Chicago, III. 
Reel 1, Today in Samoa : the harbor at Apia — Vailima; Stevenson's 
home — tomb of Tusitala — Samoan cocoanuts — making copra — dancing 
the siva-siva. 

Reel 2, Yesterdays in Samoa: pictures of old Samoan life that cannot 
be duplicated today — a "king's kava ceremony" — the taupa girls — 
ancient war dance — Ella Wheeler Wilcox distributing leis. 

Moana of the South Seas — 6 reels — Famous Players-Lasky, 
485 Fifth Ave., New York City. 
Not primarily designed for the classroom, but one of the greatest 
geographical films ever produced. 

Tasmania — 1 reel — Burton Holmes Lectures, Inc., 7610 N. 
Ashland Ave., Chicago, III. 

Cape Raoul — the Tasman Peninsula — Hobart, the capital — seeing the 
town by tram — a country school — the Russell Falls — the Tamar River. 

Tonga Islands — 1 reel — Burton Holmes Lectures, Inc., 7510 
N. Ashland Ave., Chicago, III. 
Cave of the Swallows — Vavau — Haapai — Nukualofa — making tapa 
— the King of Tonga — dancing the laka-laka — South Sea surf. 

EAST INDIES 

Dutch East Indies — 9 reels — Burton Holmes Lectures, Inc., 
7510 N. Ashland Ave., Chicago, III. 
Reel 1, Batavia, the Javanese Capital: landing at Tandjong Priok — 
the Dutch army — the "rice table" — life and customs of the Dutch and 
Javanese. 

Reel 2, A Journey through Java: by rail to Soh> — in the Kraton of 
Soesoehoenan — the royal ballet — a serio-comic military review. 

Reel 3, Surabaya, the Busy Burg of Java: the commercial metropolis 
of the Dutch East Indies. 

Reel 4, In the Garden of the East: glimpses of the Island of Java— 
Batavia — gardens of Buitenzorg— sugar fields— strolling entertainers. 

Reel 5, A Polynesian Odyssey : unusual pictures of Bali and its people. 

Reel 6, Boro-Bodor and the Bromo : the great carved pyramid of Boro- 
Bodor and active volcanic crater of Bromo, smoking in the "Sand Sea." 



350 MOTION PICTURES FOE INSTRUCTION 



Reel 7, In Batik Land: life, customs and industries of the people where 
the waxing and dyeing of Batiks originated. 

Reel 8, Rural Java: farming and gathering of Kapok — cultivation of 
chinchona trees — rice cultivation. 

Reel 9, Watching the Wayangs: town of Djokgakarta — the filniless 
movies of the Orient, shadow pictures — the archery of aristocrats — 
town of Surabaya. 

Philippines — 31 reels — Burton Holmes Lectures, Inc., 7510 
N. Ashland Ave., Chicago, III. 

Reel 1, Old and New Manila: the Manila of 1913 — the Xew Luneta — 
Rizal Monument — Army and Navy Club — Ernita Y. M. C. A. — old walled 
city. 

Reel 2, Bilibid, the Sing Sing of the Philippines: a model prison in 
Manila — the military drill — how the prisoners are fed — the Bilibid 
band. 

Reel 3, The Pasig River: the waterfront in Manila and the suburbs — 
the upper portion of the river and beautiful scenery. 

Reel 4, The Lowlands of Luzon: country life in the Philippines — 
peculiar fruits and hemp — industry and natives. 

Reel 5, The Dog Eaters of Benguet: at Baguio, the summer capital — 
the Benguet Road — school for Igorot girls. 

Reel 6, Hiking with the Igorots: over the trails of the mountainous 
province of Luzon, from Baguio to Bontoc. 

Reel 7, Among the Bead Hunters: an Igorot canayo at Bontoc — the 
Constabulary — the Ifugao Country — Banaue — the Rice Terraces. 

Reel 8, Cruising Through the Philippines : on a Coast Guard cutter — 
Romblon — Leyte — Iloilo — Cebu — Zamboanga — San Romon Prison. 

Reel 9, The Moros of Mindanao: scenes at Lake Lanao at the gathering 
of the Moro Dattos and Sultans. 

Reel 10, Visiting the Sultan of Sulu: Jolo, chief city of the Sulu 
Islands — views of the Sultan and curious customs. 

Reel 11, The Penal Colony of Palawan: views of the penal colony and 
along the uncharted coast to the L T nderground River on the Governor- 
General's yacht. 

Reel 12, Our Filipino Fighting Forces: with a mountain battery of the 
Philippine scouts— the military play ball and a senator throws the 
first ball. 

Reel 13, The Philippine National Guard: A cantonment near Manila— 
the modern city — students at drill — Red Cross Filipinas. 

Reel 14, The Belgian Sisters of Lu^on: teaching tiny Filipinas to 



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351 



make lace — Red Cross work in Manila — the annual carnival and chil- 
dren's day — the candidates for the queenship. 

Reel 15, Two Ends of a Rope: the complete rope industry through 
the cutting of the "abaca," preparation and manufacture, to the ship- 
ment of the finished product. 

Reel 16, The Gorge of Pagsanjan: Santa Cruz near Manila — Lake 
Laguna covered with lotus — rafts of cocoanuts — going up the gorge 
against the rapids — the dash down the river. 

Reel 17, In a Manila Wrapper: the tobacco industry — cigars and ciga- 
rettes in the making. 

Reel 18, Cane Fields of Colamba: Sugar industry — old and new meth- 
ods — picturesque plantation lands and workers. 

Reel 19, Canning Scenery: Herford T. Cowling photographing Phil- 
ippine scenery for Burton Holmes — his field dark room and native 
helpers. 

Reel 20, Making Summer Sombreros in Manila: the hat industry — 
panamas made of buri palm fibre — Lukban, the hatter's town — the toil- 
ers and the exquisite headgear they produce. 

Reel 21, Zamboanga, General Pershing's Headquarters in the Philip- 
pines: the chief city of Mindanao — modern Zambo — plazas and boule- 
vards — Mayor Brown and his Orangoutang. 

Reel 22, Filipino School Days: Aguinaldo in his town home — high 
school cadets — a field day — dances of the nations — drills and exercises. 

Reel 23, Tagalog Toilers: the rice industry — the salt industry — 
cacao — breadfruit — papayas. 

Reel 24, Frocks and Frills of the Filipinas : costumes of the young 
women of Manila — social amenities of the Tagalog upper classes — 
— heiresses of Philippine culture. 

Reel 25, Up-to-date Manila: the modernized capital — clubs — high 
buildings — rapid transit — fire tugs in action — a Manila sunset. 

Reel 26, Lawmakers of the Philippines: Jose Rizal — Manual Quezon 
— Moro Senators — Speaker Osmena — the Constabulary — Don Emilio 
Aguinaldo — Moro Dattos — the Sultan of Sulu — the American Governor- 
General — Filipino West Pointers — at a grand reception in Manila. 

Reel 27, Oriental College Boys and Co-eds: college life — glee club — 
dramatic club — cadet drill — co-eds playing ball — arts and crafts — weav- 
ing baskets and chinelas — an excursion to the Taal Volcano. 

Reel 28, An Oriental Sing Sing: the Bilibid Prison and the inmates at 
work — making Philippine wicker chairs — artistic furniture — the daily 
retreat — the honor battalion — the calisthenic drill — in the women's ward. 

Reel 29. Cocoanuts and Copra: the most picturesque industry in the 



352 MOTION PICTURES FOR INSTRUCTION 



Philippines — palm groves and cocoanut rafts — cracking and drying the 
meat— how to eat a mango. 

Reel 30, Luzon Lingerie: designing and making exquisite under- 
garments — in a Manila factory — in Bilibid Prison — at Louise Brown's 
country training school for needle-workers. 

Reel 31, Around About Manila: passing the island of Corregidor — 
carnival crowds — pilgrimage to Antipolo — the miraculous image — na- 
tive troops at Fort McKinley — Aguinaldo — Cavite. 

HAWAII 

Commercial Geography of Hawaii — 1 reel — General Vision 
Co., 104 W. 42nd St., New York City. 
Hawaii is usually thought of as a playground, but this reel ex- 
hibits the islands as a commercial entity, giving it its place in the 
world of industry. 

Physical Character and Political Geography of Hawaii 
— 1 reel — General Vision Co., 104 W. 42nd St., New York 
City. 

Famous seacoasts, volcanos and rivers of these interesting islands 
are presented in this reel as a geographical study for use in schools. 

Everlasting Fire — 1 reel — Carter Cinema Producing Cor- 
poration, c/o Evans Film Laboratories, 1476 Broadway, 
New York City. 
The volcano of Kilauea, with a close-up of the crater. 

Hawaiian Glimpses — 1 reel — Carter Cinema Producing Cor- 
poration, c/o Evans Film Laboratories, 1476 Broadway, 
New York City. 

The grass hut home of a Hawaiian family — natives at work and play 
— men making and mending nets — women weaving leaves of the Lauhala 
tree into mats and hats — making poi, the favorite native food — Hawaiian 
scenery. 

HAWAn — 5 reels — Burton Holmes Lectures, Inc., 7\510 N. Ash- 
land Ave., Chicago, III. 
Reel 1, In Happy Honolulu: Decoration Day — the hula-traffic-cop — 



RENTAL FILMS 



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and the villages of Andalusia — peasant children — the costumed children 
of the plutocracy at the Feria. 

Reel 5, In Barcelona: views of the harbor and city — the Columbus 
Column — a religious procession — the Rambla promenade. 

Reel 6, Spanish Holidays?: A county fair in Seville showing the pic- 
turesque costumes and prize cattle — a royal birthday celebration in 
Madrid — Spanish notables. 

Reel 7, Toledo and Segovia: views of the great Roman Aqueduct at 
Toledo — monuments, streets, churches of both cities. 

Reel 8, Seville in Fair Time: burial place of Columbus — the present 
Queen of Spain — the bull-ring and other points of interest — Spanish 
girls dancing, donning the mantillas, etc. 

Reel 9, In Old Granada: the old Moorish city with views of Alhambra 
Hill — cave dwellings of the gypsies — the River Darro and the Court of 
Myrtles and Zions. 

A Trip up the Seine — 1 reel — Society for Visual Education, 
Inc., 327 S. LaSalle St., Chicago, III. 
Viewg of the industries lining the great waterway, the Cathedral 
of Notre Dame, bridges, government buildings and markets of Paris 
as seen from the river. 

RED CROSS FILMS 

Society for Visual Education, Inc., 327 S. LaSalle St., 
Chicago, 111. 

School Correspondence. 

Florence, Italy — Rome — Naples — Sezze Romano — Greece — Constanti- 
nople — Venice — Roumania — In Prague — France — Belgium — Czecho - 
Slovakia — Albania — Montenegro — France — The Sahara — Italy's Sons of 
the Sea — America Junior (2 reels). 

Little Journeys Through Other Lands. 

Normandy — Tatra — Brittany — Poland — Zuider Zee — Venice — Riviera 
— Marseilles — Quaint Rouen, France. 

MISCELLANEOUS RED CROSS FILMS 



Amid Archangel Snows — The Balkans — Queen of Roumania 
— Heroes All — Serbia — Fall of Kiev — Over the Soviet Line — 



346 MOTION PICTURES FOR INSTRUCTION 



Czechoslovakia — Spirit of Service — Mrs. Brown versus the 
High Cost of Living — Every Swimmer a Life Saver — Voca- 
tional Training for Blind Soldiers — Russia — The Boy Scout 
and His Uniform. 



POST TRAVEL PICTURES 

Chadwick Pictures Corporation, 729 7th Ave., New York 
City. 

Children of Other Lands. 

Children of Holland — Children of Serbia — Children of 
Poland — Children of Scandanavia — Children of Bohemia — 
Children of Hungary — Children of The Balkans — Children of 
Germany — Children of Roumania. 

In Other Lands. 

Hungary — Lapland — Norway — Greece — Southern Europe — 
Roumania — Bohemia — Sweden — Poland — Serbia — Holland — 
The Balkans — Austria — Germany — Italy — French Riviera. 

WEST INDIES 

Bermuda — 2 reels — Burton Holmes Lectures, Inc., 7510 N. 
Ashland Ave., Chicago, III. 

Reel 1, Beautiful Bermuda: the city of Hamilton and its environs 
from an airplane — tent pegging at Government House. 

Reel 2, A Little Atlantis: the Bermudas and their submerged coral 
reefs from the air—St. George Frascati — Racing dinghys. 

Cuba — 2 reels — Burton Holmes Lectures, Inc., 7510 N. Ash- 
land Ave., Chicago, III. 

Reel 1, Nature's Contrasts: a comparison of New' England snow scenes 
and tropic Cuban scenes, titled with verse. 

Reel 2, Under Cuban Skies: Havana — its harbor, boulevards, clubs, 
palaces and cathedral. 



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St. Thomas, Uncle Sam's New Ward — 1 reel — American Mo- 
tion Picture Carp., 126 W. 46th St., New York City. 
The Caribbean Island and the changes made in it since under United 
States protection. 

Toilers of the Equator— (Coffee and Hemp) — Fox Film 
Corporation, 10th Ave., and 55th St., New York City, and 
910 S. Wabash Ave., Chicago, III. 
The growing of coffee and hemp and their preparation for shipment, 

in the Kenva colony. 

West Indies — 1 reel — Burton Holmes Lectures, Inc., 7510 N. 
Ashland Ave., Chicago, III. 
Tropical Nassau: glimpses of Port of Spain in Trinidad and of Bar- 
bados — fashions and dancing in Nassau — opening palm buds — pelicans 
at play. 

OTHER ISLANDS 

Australia — 9 reels — Burton Holmes Lectures, Inc., 7510 N. 
Ashland Ave., Chicago, III. 

Eeel 1, Sydney, the Antipodean Metropolis : Sydney Harbor and Syd- 
ney Head — the Circular Quay — Australian skyscrapers and parks. 

Reel 2, A Trip to the Jenolan Caves of Australia: by rail to Hawkes- 
bury Agricultural College — the Grand Canyon of Katoomba — the Great 
Arch in the Caverns — views of Sydney. 

Reel 3, Melbourne, the Magnificent : the people, buildings, streets, 
and parks of the capital city of New South Wales. 

Reel 4, Round About Melbourne : interesting scenes showing the Cup, 
Sports, a Dog Show, Tag Day, and Mme. Melba at home at Coombe 
Cottage. 

Reel 5, Adelaide, Capital of South Australia: the third largest city — 
views and up-to-date items — Australian volunteers. 

Reel 6, Round About Adelaide: young Australians and Australian 
swimmers — homes and vineyards — the seashore and the races — eucalyp- 
tus and sheep. 

Reel 7, Hunting Kangaroos from Motor Cars: kangaroo close-ups in 
the Zoo — the emu bird — exciting motor pursuit of wild kangaroos — 
baby kangaroos in the pouch — Australian swimmers. 

Reel 8, Along the Queensland Coast: Sydney to Brisbane by sea — 



348 MOTION PICTURES FOR INSTRUCTION 



Townsville — a "Blackfellow" camp — the Aboriginal Australians and the 
stolid blacks of the Never -Never Land. 

Reel 9, The Cruise of the Aki Maru: a trip from China to Australia — 
ship life and the ingenious ways of the Jap tars — crossing the Equator 
— Father Neptune comes aboard — good comedy at sea. 

Fiji Islands — 5 reels — Burton Holmes Lectures, Inc., 7510 N. 
Ashland Ave., Chicago, III. 

Reel 1, Sailing the South Seas to Fiji: aboard the Niagara — Suva 
the capital — faces and figures of the islanders — sports and dancing the 
Meke-meke for Mme. Melba on the deck. 

Reel 2, Sights of Suva: life and labor in Suva — giant turtles — the 
constabulary — church parade — tropical scenery. 

Reel 3, Methodized Cannibals: along the tropic rivers — converted 
native children — a Methodist mission — the "Lali" as a church bell — a 
native village. 

Reel 4, Fiji Does Its Bit: the rubber and banana industries — native 
labor corps starting for France — farewell ceremony at Suva and ashore 
at Honolulu. 

Reel 5, Fire Walkers at Beqa: unique pictures of an ancient and 
rarely performed sacred rite of the Fiji Islanders — terrifying war 
dance — actual walking upon superheated stones. 

New Zealand — 5 reels — Burton Holmes Lectures, Inc., 7510 
N. Ashland Ave., Chicago, III. 

Reel 1, Aukland, the Metropolis of New Zealand: views of the city — 
the Grafton Bridge — Mount Eden — Ellerslie race course — boat-races — 
beside the silver sea. 

Reel 2, Rotorua, the Yellowstone of the Antipodes in New Zealand: 
the Government baths — Wakarewarewa — hot springs and geysers — 
Maori children — Wairaki — the great Waimangu geyser — after the out- 
burst — a unique inn. 

Reel 3, Among the Maoris of New Zealand: the Polynesian population 
— Maori art and architecture — the ancient native fort — tattooed heads 
— the "tiki" — rubbing noses — the poi dance — the haka-haka. 

Reel 4, Wellington and the North Island of New Zealand: views of 
Napier — New Plymouth — Mount Edmont — the Wanganui River — kauri 
trees — apples — tomatoes — prize cattle on parade. 

Reel 5, Down South in New Zealand: the city of Christchurch in the 
South Island — Scottish dances in Dunedin — mid-winter seaside resorts 
— Lake Wakatipu — Skipper's Gorge — Maori sports — hurdling in canoes. 



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341 



Thierry — Belleau Wood — the Village of Vaux — the Argonne — 22,000 
crosses in the American Cemetery at Romagne. 

Reel 19, Parisian Holidays: the 14th of July in Paris, 1918 and 1919, 
and the transition from despair to victory— the 4th of July in the 
Pershing Stadium. 

Reel 20, The Land of Pardons: scenes in Brittany — curious costumes 
and caps — making wooden shoes — the pardon of St. Anne of Auray — 
four Bishops in procession. 

Reel 21, Pyrenean Perspectives: penetrating the Pyrenees by trolley — 
mountain hamlets and holy places — valleys and peaks. 

Reel 22, In Finistere: the Sardine Fleet — the pilgrimage to St. 
Roman's phrine — the pardon of St. John of the Finger — Brittany cos- 
tumes and bridal gowns. 

Reel 23, The Snow-Bound Pyrenees: midwinter scenes in the moun- 
tains — hiking in a storm — the Cirque of Gavarnie. 

Reel 24, Bordeaux to Lourdes: a rainy day in Bordeaux — fox hunting 
in the sunshine — the basilica and the grotto of Bernadette at Lourdes. 

Reel 25, Along the Riviera: roads and beaches and cities of the 
Azure Coast of France. 

Reel 26, Monte Carlo: the principality of Monaco — the castle of the 
Prince — Street scenes — pigeon shooting — the great pleasure houses — the 
Casino — its gaming tables and the terraces and gardens. 

Reel 27, Marseilles : France's great Mediterranean seaport — views of 
the harbor and Cannebiere — the "Transbordeur" Bridge and the Funi- 
cular to Notre Dame de la Garde. 

Reel 28, ~Sice and Cannes: pleasure cities of the Riviera showing the 
Casinos, Cafes, Parks, Gardens and the "Battle of Flowers." 

From London to Paris by Air — Society for Visual Educa- 
tion, Inc., 327 8. LaSalle St., Chicago, III. 
Unusual photographs of the English Channel and the cities and towns, 
as well as natural scenery, en route from London to Paris. 

Germany — 10 reels — Burton Holmes Lectures, Inc., 7510 N. 
Ashland Ave., Chicago, III. 

Reel 1, Imperial Berlin: a voyage from Hoboken, U. S. A., to the 
harbor and to the City of Berlin — famous streets — buildings — gardens — 
monuments — the soldiers and the emperor. 

Reel 2, The Spreewald near Berlin: life on the River Spree — quaint 
costumes of the people of the forest — Nuremberg — an English boat-race 
at old Heidelberg. 



342 



MOTION PICTURES FOR INSTRUCTION 



Keel 3, Munich, the Magnificent : views of the streets and buildings of 
the Bavarian capital — women laborers and children playing among flocks 
of tame pigeons — the Izar River and the Corpus Christi procession — 
King of Bavaria. 

Reel 4, In Beautiful Bavaria: quaint peasants — tourists in the salt 
mine — the River of Acke and the Koenigs See — Germany's most beauti- 
ful lake — the Austrian Tirol. 

Reel 5, Mirrors of Nature: described as Reel 1 under Belgium. 

Reel 6, Yankee Watch on the Rhine: the American occupation of Cob- 
lenz — the Flag on Castle Ehrenbreitstein — the bridge of boats — U. S. 
troops on parade. 

Reel 7, The Franco-British Rhine: the Rhine Bridge at Worms — the 
Senegalese Watch on the Rhine at Mainz — Rudesheim — the Germania 
monument — British soldiers at Cologne and the great cathedral. 

Reel 8, The Lure of the Lorelei: the Rhine from Bonn to Bingen — 
Drachenfels — Andernach — castles of the Rhine and the Rock of the 
Lorelei — the Pfalz and Rhein stein. 

Reel 9, The Sentence of the Sarre: Described as Reel 5 under France. 

Reel 10, Moselle Memories : the Moselle River from Treves to Cochem; 
vertical vineyards; views of the valleys and hills; American graves 
in the churchyard at Cochem. 

Greece — 2 reels — Burton Holmes Lectures, Inc., 7510 N. Ash- 
land Ave., Chicago, III. 

Reel 1, In Classic Greece: Patras — Eleusis — through the Corinthian 
Canal — Piraeus — Athens — the Acropolis — Evzones on parade — high div- 
ing at Phaleron. 

Reel 2, In Modem Athens: the great Stadium — the Olympic Games and 
the Marathon Race. 

Hampton Court Palace — 1 reel — Carter Cinema Producing 
Corporation, % Evans Film Laboratories, 1476 Broad- 
way, New York City. 
Views of the historic structures; great chambers of the palace; the 

grounds, vine arbor, lily ponds, and old English gardens. 

In Old England — George Eleine Motion Picture Films, 49 
W. 45th St., New York City. 
Views of the populous island where every foot of soil is cultivated and 
landscaped — English roads and quaint houses — the banks of the Thames 
and its bridges and locks. 



RENTAL FILMS 



343 



Ireland — 3 reels — Burton Holmes Lectures, Inc., 7510 N. Ash- 
land Ave., Chicago, III. 

Reel 1, A Scotch-Irish Reel: shearing Cheviot sheep — a school in the 
Selkirk hills — Crinan Canal — the Isle of Skye — Staffa — Gingal's Cave — 
Iona — Belfast Volunteers. 

Reel 2, In Old Ireland: Belfast and Dublin — the Horse Show — Glen- 
dalough — Achill Island — the Ballybunion Mono Railway. 

Reel 3, From Blarney to Broadstairs : described as Reel 11 under Eng- 
land. 

Italy — 7 reels — Burton Holmes Lectures, Inc., 7510 N. Ash- 
land Ave., Chicago, III. 

Reel 1, Southern Italy: Naples — pilgrims from Monte Vergine — Sor- 
rento — the Tarantella — Corpus Christi in Amalfi. 

Reel 2, The Island of Capri : famous dancers — festival of San Costanzo 
— the Blue Grotto — warnings from Vesuvius. 

Reel 3, Vesuvius in Eruption: actual volcanic activity — rains of ashes 
and cinders — rivers of Lava — crushed villages — refugees — Pompeii. 

Reel 4, From the Tiber to the Piave : St. Peter's — Castle of St. Angelo 
— The Coliseum — the Forum — scenes of Rome — front line trenches. 

Reel 5, A Day in Florence: Along the Arno — the Duomo — the Ponte 
Vecchio — physical exercises of the war-wounded soldiers. 

Reel 6, All Aboard for Brindisi: Egypt to Italy — leaving Alexandria 
— interesting fellow passengers — Brindisi — the terminal pillars of the 
Appian Way — up the Adriatic. 

Reel 7, Lake Maggiore: views of northern Italy and the Alps — hang- 
ing gardens — Borromean archipelago — Arona — Castle of Borromean. 

Norway — 1 reel — Burton Holmes Lectures, Inc., 7510 N. Ash- 
land Ave., Chicago, III. 
Bergen — by cariole through the Romsdal — a canal boat in the Tele- 
marken Canal — the Great Fjords — Hammerfest — Bird Rock — natives of 
Lapland. 

Old London — 1 reel — Carter Cinema Producing Corporation, 
c/o Evans Film Laboratories, 1476 Broadway, New York 
City. 

Mansion House — Guildhall — Bank of England — Ludgate Circus — St. 
Paul's Cathedral. 



Old Spain — Fox Film Corporation, 10th Ave. and 55th St., 



344 MOTION PICTURES FOR INSTRUCTION 



New York City, and 910 S. Wabash Ave, Chicago, III. 

Beautiful and historic points in Granada and scenes showing the life 
and customs of the natives. 

Paris the Beautiful — 1 reel — Pictorial Clubs, Inc., 350 Mad- 
ison Ave., New York City, 
Views of the buildings, monuments, boulevards, and parks of Paris, 

Portugal — 1 reel — Burton Holmes Lectures, Inc., 7510 N, 
Ashland Ave., Chicago, III. 
Madrid to Madeira: life in the Spanish capital and in Lisbon — a 
bloodless Portuguese bullfight — Funchal in Madeira — coasting in the 

tropics. 

Scotland — 3 reels — Burton Holmes Lectures, Inc., 7610 N. 

Ashland Ave., Chicago, III. 
Reel 1, Glasgow to Edinboro: the Clyde River — the Trossachs — Loch 
Lomond — Edinboro Castle — Prince's Street — the arrival of the King and 
Queen. 

Reel 2, Bonnie Scotland: the Forth Bridge — Aberdeen — through the 
Caledonian Canal — the Locks of Fort Augustus. 

Reel 3, A Scotch-Irish Reel : described as Reel 1 under Ireland. 

Sculptor's Paradise, A — Carrara, Italy — Fox Film Cor- 
poration, 10th Ave. and 55th St., New York City, and 
910 8. Wabash Ave., Chicago, III. 

The marble quarries of Carrara, the village, the workers — views of 
famous masterpieces of architecture, memorials, etc., made of Carrara 
marble. An unusually beautiful and instructive picture. 

Spain — 9 reels — Burton Holmes Lectures, Inc., 7510 N. Ash- 
land Ave., Chicago, III. 

Reel 1, Madrid to Madeira : described as Reel 1 under Portugal. 

Reel 2, Palma de Majorca: the capital of the Balearic Islands — 
senoritas wearing the ^^ Rebozillo , ' — motoring in Majorca — views of 
natives, convents, old olive groves — a she-goat suckling a baby. 

Reel 3, In Xew Madrid: views of the modern city — the post office — 
the Square of Puerta del Sol, the center of the city — monuments and 
military display. 

Reel 4, Spanish Children : Children of the cities of Seville and Granada 



RENTAL FILMS 



337 



teresting native life — buildings and parks of the city and the sur- 
rounding mountains — a procession of honor — folk dances. 

Reel 3, In South Tirol: Lake Garda and its lemon orchards — proces- 
sion of Corpus Christi — a mountain railway and Stelvio, the highest 
crossroads of the Alps — the meeting point of Italy, Austria and Switzer- 
land, 12,000 feet high— Ortler Peak. 

Reel 4, Climbing the Austrian Alps: the dangers as well as the joys 
of mountain climbing; the city of Salzburg. 

Belgium — 9 reels — Burton Holmes Lectures, Inc., 7-510 N. 
Ashland Ave., Chicago, III. 
Reel 1, Mirrors of Nature: artistic and beautiful scenes reflected in 
the calm waters of famous rivers and canals in Belgium, France, and 
Germany. 

Reel 2, Belgium Smiles Again : views of the ruined city of Dinant on 
the Meuse — unharmed Ostende and its beach, one of the world's great 
resorts. 

Reel 3, Bustling Brussels: the Royal Palace — the Bourse and Boule- 
vard life — the making of fine lace — views of the Palace of Justice — 
guild houses — the city hall. 

Reel 4, Martyred Cities: showing the devastation of war in the French 
and Belgian cities of Ypres, Arras, Verdun, and Rheims. 

Reel 5, Artistic Antwerp : the Cathedral and boulevards — Brabo Foun- 
tain and Rubens' Monument — art galleries and parks — harbor works 
along the Scheldt and the funeral cortege of a city councilor. 

Reel 6, Beautiful Bruges: the beautiful canals and bridges of the 
Flemish Venice — the German submarine base — the belfry and city hall. 

Reel 7, In Flanders: ineradicable marks left by the war — Flanders 
Fields — ruined Dixmude and scenes along the Yser — Ghent and the 
room where the treaty of the War of 1812 was signed — the Grand 
Beguinage of Ghent. 

Reel 8, Heroic Liege: where the World War began — the River Meuse 
— the devastation caused by the great guns — the shattered Fort of 
Loncin — Malines and the Cathedral of Cardinal Mercier. 

Reel 9, In Rural Belgium: Views of a country that is still like a child's 
picture book — dogcarts — windmills — wooden shoes — strange costumes — 
the village of Wortel — a picturesque festival for returning soldiers. 

Chase, The — (Ski Sunning in the Alps) — Educational 
Film Exchanges, Inc. 729 7th Avenue, New York City. 
Fifty of the world's champion ski-jumpers, performing their greatest 



338 MOTION PICTURES FOR INSTRUCTION 



feats of skill and daring, make this film a thrilling one. Photographed 
near St. Moritz in the Alps. 

Chateaux of France — Society for Visual Educational, Inc., 
327 S. LaSalle St., Chicago, III. 
Views of some of the beautiful and historic castles of France — a 
Moravian wedding and celebration are included. 

Cheddar and Glastonbury — 1 red — Carter Cinema Produc- 
ing Corporation, c/o Evans Film Laboratories, 1476 
Broadway, New York City. 
A pilgrimage to Glastonbury and is ancient abbey, the cradle of 

Christianity in England — the village of Cheddar, the home of Cheddar 

Cheese. 

Coaching Through Conway in Wales — 1 reel — Carter 
Cinema Producing Corporation, c/o Evans Film Labora- 
tories, 1476 Broadway, New York City. 
A beautiful scenic of the Welsh country. 

Czechoslovakia — 5 reels — Burton Holmes Lectures, Inc., 
7510 N. Ashland Ave., Chicago, III. 

Reel 1, The Real Bohemia: the Sokols or great gymnastic meets — the 
home of Kubelik — peasant life and native dances. 

Reel 2, In Picturesque Prague: views in the old city with the narrow 
streets and the Rathouse and the 15th century clock — the great buildings 
of the new city — where the famous Bohemian glass is made — laborers 
and soldiery — scenes along the Vetava River and the mountains outside 
the city. 

Reel 3, From Carlsbad to Moravia: the great health wells at Carlsbad 
and Marienbad — dog-drawn carts — the life, costumes and dances of the 
peasants. 

Reel 4, Present-Day Prague: the Hradsany — the Tyn Church — the Na- 
tional Theatre — the Charles Bridge — the Cathedral of St. Vitus and the 
River Vetava. 

Reel 5, Country Life in Bohemia: scenic beauty and the rich, cul- 
tivated lands — cattle and crops — villagers at work and play — native 
dances. 

England — 12 reels — Burton Holmes Lectures, Inc., 7510 N. 
Ashland Ave., Chicago, III. 



RENTAL FILMS 



339 



Reel 1, The Sunny South of England: Land's End — Ilfracombe — Fal- 
mouth — Looe — Torquay — Weymouth — Bournemouth. 

Reel 2, Glimpses of English Town and Country: Stonehenge — Wells 
Cathedral — Salisbury — Oxford — Cambridge — Stratford. 

Reel 3, With the American Y. M. C. A. in London: American soldiers 
in England — Eagle Hut and the Washington Inn which was opened by 
the Duke of Connaught — Fourth of July in London. 

Reel 4, St. Dunstan's Happy Blind: the university for the sightless in 
London — Otto Kahn's mansion turned into a training school for 
blinded soldiers — work of the blind. 

Reel 5, The War Women of England: Trafalgar Square — Florence 
Nightingale — Army Service Corps — window washers — bus and aero 
workers — 3,000 war workers at Buckingham Palace. 

Reel 6, London Plays Ball: British Royalty and nobility witness a 
game of baseball between the U. S. Army and Navy. 

Reel 7, Seeing Sights in London: Westminster Abbey — Houses of 
Parliament — the Horse Guards — No. 10 Downing Street — the Catholic 
Cathedral — Whitehall — Admiralty Arch — Fire Monument — Guildhall — 
St. Mary-le-Bow— St. Paul's. 

Reel 8, Some British Bits Well Done: a school for Army Cooks — an 
aviation camp — a tank garage — a war-dog college. 

Reel 9, With Uncle Sam's Submarine Chasers: whence the Mayflower 
sailed — Francis Drake and the Bowling Green — submarine chasers drop- 
ping depth bombs — sea geysers — Admiral Sims. 

Reel 10, Around About London: the Thames at Richmond — Windsor 
Castle — Hampton Court — Aboard a Houseboat — the Thames in London 
— Houses of Parliament — Lambeth — the Embankment — Street traffic, 
1902 to 1918. 

Reel 11, From Blarney to Broadstairs: the feat of kissing the famous 
stone — Queenstown — the Lusitania graves — a Ford for cranking aero- 
planes — in Plymouth Harbor — Lord NorthclifTe. 

Reel 12, A Fairy Foreland: a picturization of Tennyson's poem "The 
Brook." 

France — 28 reels — Burton Holmes Lectures, Inc., 7610 N. 
Ashland Ave., Chicago, III. 

Reel 1, Gay Paree in Wartime: the Paris Opera—the Champs Elysees 
— Arch of Triumph — Notre Dame- — the Hotel des Xnvalides— Guynemer's 
plane — Napoleon's tomb — the Louvre. 

Reel 2, Glorious Versailles : the palace and gardens of the home of the 
Bourbon Kings — the Grand Trianon — L^ Petit Trianon — the 14th of 
July in Paris. 1918 (Bastille Day). 



340 MOTION PICTURES FOR INSTRUCTION 



Reel 3, With the Yanks in France: Crusaders in Orleans — Joan of 
Arc — aviators at Issoudun — American locomotives — the S. 0. S. at 
Tours and the Cathedral — army bakery at Dijon. 

Reel 4, Across France with the Yankee "Gas Hounds" : St. Xazaire — 
Saumur — the Castle of Angers — the ancient drawbridge — The Loire River 
— Amboise — Bloise — the Chateau — convoys to the front. 

Reel 5, Chateau-Thierry and Beyond: with the Yanks near the front 
in July 1918 — German loot — the berth of a Big Bertha — -artillery in ac- 
tion — camouflage and filmed history. 

Reel 6, American Women in France: American fund for French woun- 
ded — American Hospitals at Neuilly — tent hospital at Auteuil — nurses 
— Young Women's Christian Association — Aix-les-Bains — "Y" Girls. 

Reel 7, The Miracle of Montoir: the building of the supply depot near 
St. Nazaire — a polyglot army of laborers — the service of supply. 

Reel 8, Salvation Army on the Job: Commander Evangeline Booth — 
the passage and in the War Zone — the McAllister Sisters — opening a 
canteen — meetings near the front — on the edge of the Argonne. 

Reel 9, Paris, the Magnificent : the Eiffel Tower — Arch of Triumph — 
Alexander Bridge — the art palaces and the Place de la Concorde 
Madeleine — the Opera — Cafe de la Paix — the Boulevards and the Seine — 
Notre Dame — Cluny — Luxembourg — Pantheon — Sacre Cceur. 

Reel 10, The Doughnut That Did It : the war service of the doughnut — 
the epidemic — a doughnut factory at the front. 

Reel 11, Uncle Sam, Salvager: the great salvage plant of the A. E. F. 
at Tours — salving 100 million dollars worth of materials — mountains of 
clothing — the world's biggest tailor shop — millions of socks and shoes. 

Reel 12, In the Basque Country: the French slopes of the Pyrenees 
— the land of Loyola and Francis Xavier — the game of pelota — the 
world's smallest republic, Andorra, and its president — mountain scenery 
and waterfalls. 

Reel 13, In Brittany: the land of sincere piety — the Fair at La 
Faouet — the Pardon of Ste. Barbe — the Pardon of Our Lady of Baud — 
Pont Aven. 

Reel 14, Mirrors of Nature: described as Reel 1 under Belgium. 

Reel 15, Parisian Faces and Figures: striking studies of French 
physiognomies; superb panoramas from the Eiffel Tower. 

Reel 16, Martyred Cities: described as Reel 4 under Belgium. 

Reel 17, Battlefields of France: the ruined coal mines of the Lens 
Basin — Chinese Labor Corps at play — Fort of La Pompelle near Rheims 
— a tank in a trench; German prisoners at work. 

Reel 18, A Gold Star Pilgrimage: to the battlefields of Chateau- 



RENTAL FILMS 



369 



"Hats Off" — X reel — Society for Visual Education, Inc., 327 
S. LaSalle St., Chicago, III. 

A story of the flag. 

Making of An American — 1 reel — Carter Cinema Produc- 
ing Corporation, c/o Evans Film Laboratories, 1476 
Broadway, New York City. 
The part that night schools play in the work of Americanization and 

the story of an immigrant's rise. 

Old Glory — World Educational Film Co., 732 S. Wabash 
Ave., Chicago, III. 
A color picture of the story of the flag, with interesting historical 
events connected with its evolution. 

Origin of Capital — 1 reel — American Motion Picture Cor- 
poration, 126 W. 46th St., New York City. 
An interesting reel which would serve as an introduction to a study 
of economics. 

Our New President — 1 reel — Fox Film Corporation, 10th 
Ave. and 55th St., New York City, and 910 S. Wabash 
Ave., Chicago, III. 

Romance of the Republic — XI reels — General Vision Co., 
104 W. 42nd St., New York City. 

Department of Treasury 

Department of State 

Department of War 

Department of Navy 

Department of Justice 

Department of Labor 

Department of Post Office 

Department of Agriculture 

Department of Interior and Commerce 

Note: See description of this series on Page 63. 



The Roosevelt Series — $8.00 for two reels — $5.00 for one 
reel — Y. M. C. A. Motion Picture Bureau, 120 W. 41st 



370 MOTION PICTURES FOR INSTRUCTION 



Street, New York, N. Y., and 1111 Center Street, Chicago , 
111. 

No. 1, T. R. Himself— 1 reel. 

No. 2, Roosevtlt, Friend of the Birds — 1 reel. 

No. 3, Roosevelt, the Great Scout — 2 reels. 

No. 4, The Roosevelt Dam — 1 reel. 

No. 5, The Panama Canal — 2 reels. 

No. 6, Roosevelt at Home — 1 reel. 

No. 7, Roosevelt, Big Game Hunter — 1 reel. 

No. 8, Roosevelt's Return Through Europe — 1 reel. 

No. 9, T. R. Comes Back— 1 reel. 

No, 10, The River of Doubt— 2 reels. 

No. 11, Theodore Roosevelt, President — 2 reels. 

No. 12, Roosevelt in the Great War — 1 reel. 

Pictures Suitable For Special Showing: 
No. 13, A Report of the Work of the Roosevelt Memorial 
Association (Memorializing Roosevelt) — 2 reels. 
No. 14, Cuba Remembers T. R. — 2 reels. 

Scouting with Dan Beard — 2 reels — Pictorial Clubs, Inc., 
350 Madison Ave., New York City. 

A dramatization of the famous Indian legend of "The Four Winds" 
and containing a great deal of useful scout information. 

Spirit of Lafayette — 6 reels — Monogram Corporation, 512 
Fifth Ave., New York City. 

Telling a double story of the heroism and aid of Lafayette in the 
Revolution, and a Captain Stanton in the World War. 

Nature Study and Zoology 

Ancestry and Classification of Soil — 1 reel — American 
Motion Picture Corporation, 126 W. 46th St., New York 
City. 

Cele Mitosis — 1 reel — Carter Cinema Producing Corporation, 
c/o Evans Film Laboratories, 1476 Broadway, New York 
City. 

The process of reproduction and growth of the human somatic cell is 
here shown by animated diagrams. 



RENTAL FILMS 



371 



Living World, The — 4 reels — Carter Cinema Producing Cor- 
poration, c/o Evans Film Laboratories, 1476 Broadway, 
New York City. 

A microscopic biological motion picture showing the essential differ- 
ences between living and non-living matter. 

Africa — 1 reel — General Vision Co., 104 W. 42nd St., New 
York City. 
Studies of the wild life of Africa. 

Angling for Trout — X reel — George Kleine Motion Picture 
Films, 49 W. 45th St., New York City. 
A picturization of the thrilling sport of trout fishing. 

As Bruin, Jr., Sees It — 1 reel — American Motion Picture 
Corporation, 126 W. 46th St., Neiv York City. 
A study of the beaver, his life, habits and building methods. 

Bees — 4 reels — Society for Visual Education, Inc., 327 S. 
LaSalle St., Chicago, III. 

The Italian Honey Bee — life in the hive — the manufacture of honey — 
proper care and management of the bees and arrangement of hives. 

Bird Life — 1 reel — Fox Film Corporation, 10th Ave. and 55th 
St., New York City, and 910 S. Wabash Ave., Chicago, III. 

Birds of the Farallones — 1 reel — Carter Cinema Produc- 
ing Corporation, c/o Evans Film Laboratories, 1476 
Broadway, New York City. 

A study of the wild birds of the Pacific Coast, showing their com- 
munity life, the care of the young, and with interesting views of birds 
in flight. 

Birds of a Far-off Sea — 460 ft. — George Kleine Motion Pic- 
ture Films, 49 W. 45th St., Ne'w York City. 
Intimate studies of strange birds 'that inhabit the bird island off the 
southern tip of Africa. 

Black-and-Orange Garden Spider— 1 reel — Society for 
Visual Education, Inc., 327 S. LaSalle St., Chicago, III. 



372 MOTION PICTURES FOR INSTRUCTION 



An interesting reel showing the life of the familiar spider — spinning 
a web — capturing and devouring her prey — laying her eggs — the hatch- 
ing of the young. 

Blue Fly, The — 1 reel — Non-Theatrical Motion Picture Serv- 
ice, 159 E. Elizabeth Street, Detroit, Mich. 
An interesting picture of the entire life history of the fly. Ex- 
cellent micro-photography. 

Bumble Bee — 1 reel — Carter Cirfema Producing Corporation, 
c/o Evans Film Laboratories, 1476 Broadway, New York 
City. 

The value of bee produce in the United States is approximately $60,- 
000,000 annually. This reel shows how the tiny insects amass this 
wealth. 

Canadian Lynx, The — 1 reel — Pathe Excliange, Inc., 35 W. 
45th St, New York City and 418 S. Wabash Ave., Chicago, 
III 

Channel Bass Fishing off the Virginia Coast — 1 reel — 
Field and Stream, 45 W. 45th Si, New York City. 

Chicks — 1 reel — General Vision Co., 104 W. 42nd St., New 
York City. 

Photographed in the Kerr Chickeries in New Jersey, showing the 
modern methods of poultry raising on a large scale. 

Dangerous Trails — Pathe Exchange, Inc., 35 W. 45th St., 
New York City, and 418 S. Wabash Ave., Chicago, III. 

Day in the Wilds, A — Pathe Exchange, Inc., 35 W. 45th St., 
New York City, and 418 S. Wabash Ave., Chicago, III. 

Evolution — 5 reels — Red Seal Pictures Corporation, 729 

Seventh Ave., New York City. 
An excellent picture exposition of the Darwinian theory of the 
origin of species. 

Field and Wayside — 1 reel — Society for Visual Education, 
Inc., 327 S. LaSalle St., Chicago, III 



RENTAL FILMS 



373 



An interesting reel showing the struggle for existence between plants 
and insects — different varieties of insects. 

Fish Hawk in America, The — 1 reel — General Vision Co., 
104 W. 42nd St., New York City. 

Fortune Builders — 1 reel — Pictorial Clubs, Inc., 350 Madi- 
son Ave., New York City. 

The life story of the silk moth. 

Fleeced for Gold — X reel — Pathe Exchange, Inc., 35 W. 45th 
St., New York City, and 418 S. Wabash Ave., Chicago, 
111. 

A romance is interwoven with the story of the sheep industry on one 
of the largest ranches in the Northwest. 

Getting Acquainted with Bees — 1 reel — George Kleine Mo- 
Hon Picture Films, 49 W. 45th St., New York City. 
A study in the life of the bee and food conservation. 

Giants of Industry — 1 reel — Pictorial Clubs, Inc., 350 
Madison Ave., New York City. 
A study of bees and ants. 

Goose Safari on the Lower Mississippi, A — Field and 
Stream, 45 W. 45th St., New York City. 

Greenbottle Fly, The — 1 reel — Society for Visual Educa- 
tion, Inc., 327 S. LaSalle St., Chicago, III. 
The life history and work of the greenbottle fly, one of nature's 
scavengers. 

Hawaiian Fishing — 1 reel — Carter Cinema Producing Cor- 
poration, c/o Evans Film Laboratories, 1476 Broadway, 
New York City. 
An interesting reel on the fish of these islands with underwater views 

of various species, including the octopus — fishing boats and fish markets. 

Industrious Ants — 1 reel — Pictorial Clubs, Inc., 350 Madi- 
son Ave., New York City. 
Their work, habitations, and mode of living. 



374 MOTION PICTURES FOR INSTRUCTION 



Johanna — 1 reel — Pictorial Clubs, Inc., 350 Madison Ave., 
Neiv York City. 
An interesting study of the imitative exploits and mentality of an 

untrained chimpanzee. 

Joy Rider of the Ocean, A — 320 ft. — George Klcine Motion 
Picture Films, 49 W. 45th St., New York City. 
A study of the remora, or shark-sucker, an unusual fish of the warm 
seas, which is provided with a suctional disc on the top of its head by 
which it attaches itself to the bodies of other larger fishes and is trans- 
ported under borrowed power. 

Lacewing Fly, The — 1 reel — Society for Visual Education, 
Inc., 327 S. LaSalle St., Chicago, 111. 

A study of an interesting and useful fly which destroys the tiny in- 
sects which live on plants. 

Life History of Frogs and Toa^i — 1 reel — Pictorial Clubs, 
Inc., 350 Madison Ave., New York City. 

A detailed study from the spawn through the various stages of the 
tadpole and small toad to the full growth. 

Life History of the Monarch Butterfly — 1 reel — Society 

for Visual Education, Inc., 327 S. LaSalle St., Chicago, 
III 

A detailed record of the evolution of the butterfly from the larva, 
showing the spinning of the chrysalis, the caterpillar shedding its skin, 
the development of the butterfly within the chrysalis, and finally the 
emerging of the butterfly. 

Malaria and the Mosquito — 2 reels — Carter Cinema Pro- 
ducing Corporation, c/o Evans Film Laboratories, 1476 
Broadway, New York City. 
A microscopic motion picture which shows the development of the 

malaria parasite in the human body and in the body of the mosquito. 

An unusually interesting presentation of an educational subject. 

Main Street in Nature's Wonderland — 1 reel — Bray Pro- 
ductions, Inc., 130 W. 46th St., New York City. 
Life, breeding, and methods of obtaining food of prairie dogs, bees, 
and ant lions. 



RENTAL FILMS 



375 



Microscopic Pond Life — 350 ft. — George Kleine Motion Pic- 
ture Films, 49 W. 45th St., New York City. 
A microscopic study of the infinitesimal life in a small pond. 

Mosquito, The — 1 reel — Society for Visual Education, Inc., 
327 8. LaSalle St., Chicago, III 

The plan of this reel is the same as that of the Life History of the 
Monarch Butterfly; it deals with the development of the mosquito 
through the periods of hatching from the egg, the larva and its method 
of feeding and moulting, the pupa and how it splits to let the mosquito 
emerge. 

Nature's Perfect Thread Spinner — 450 ft. — George Kleine 
Motion Picture Films, 49 W. 45th St., New York City. 
The cultivation and care of the silkworm. 

Ocean Recluse, An — 175 ft. — George Kleine Motion Picture 
Films, 49 W. 45th St., New York City. 
An interesting reel on the hermit crab and its strange habit of using 
untenanted shells of other crustaceans. 

Our Common Enemy — X reel — Pictorial Clubs, Inc., 350 

Madison Ave., Chicago, III. 
A microscopic study of the house fly and its menace to health. 

Our Four-Footed Pals — 1 reel — American Motion Picture 
Corp., 126 W. 46th St., New York City. 
An entertaining and interesting reel on cubs at play. 

Peter the Raven — 1 reel — Bray Productions, Inc., 130 W. 
46th St., New York City. 
The history of the hatching and early life of a raven, its capture by 
some hunters and its life in captivity — the tricks it learns. 

Pond and Stream Life — 2 reels — Society for Visual Educa- 
tion, Inc., 327 S. LaSalle St., Chicago, III. 

Microscopic studies of the development of a dragon-fly — embryo snails 
in their eggs — turtles, frogs and toads and their methods of capturing 
and devouring food — a "horse-hair" snake — a fight between a baby 
crawfish and a waterbug — the "water tiger." 



376 MOTION PICTURES FOR INSTRUCTION 



Practical Workings op the Shell Game — JL reel — Carter 
Cinema Producing Corporation, c/o Evans Film Labora- 
tories, 1476 Broadway, New York City. 
The development of the chicken in the egg and its hatching. 

Raising Ostriches in South Africa — 350 ft. — George Eleine 
Motion Picture Films, 49 W. 45th St., New York City. 

The habits of ostriches and the methods of raising them. 

Royal Chinook, The — 2 reels — Pathe Exchange, Inc., 35 W. 
45th St., New York City, and 418 S. Wabash Ave., 
Chicago, III. 

An extensive and detailed story of the raising of salmons from the 
eggs to the time they return to the streams to spawn and die. 

Samia Secropia, the Giant American Silkworm — 1 reel — 
Society for Visual Education, Inc., 327 S. LaSalle St., 
Chicago, III. 

The plan of this film is the same as that followed in the treatment of 
Life Eistory of the Monarch Butterfly and The Mosquito; the life cycle 
of the moth is shown from the egg to the moth. 

Secrets of Life Series — 12 reels — Educational Film Cor- 
poration, 729 7th Ave., New York City. 

Reel 1, The Ant 

Keel 2, The Bee 

Reel 3, The Spider 

Reel 4, The Butterfly 

Reel 5, The Ant Lion 

Reel 6, The Fly 

Reel 7, The Ladybug 

Reel 8, In a Drop of Water 

Reel 9, The Mosquito 

Reel 10, Little People of the World 

Reel 11, Little People of the Sea 

Reel 12, Our Six-Legged Friends 

Note: See description of this series on p. 64. 

Silkworm, The — 1 reel — General Vision Co., 104 W. 42nd 
St., New York City. 



RENTAL FILMS 



377 



History, life and habits of the various moths, together with interesting 
views of them. 

Spiders and Their Victims — JL reel — Pictorial Clubs, Inc., 350 

Madison Ave., New Yorh City. 
A study of the spider and his methods of obtaining food. 

Sponge Fishing and Industry — 1 reel — Carter Cinema Pro- 
ducing Corporation, c/o Evans Film Laboratories, 1476 
Broadway, New York City. 
A study of aquatic plants and animals. 

Strange Caterpillars — 1 reel — Pictorial Clubs, Inc., 350 
Madison Ave., New York City. 
Their means of sustenance; collecting and preserving butterflies. 

Toads — 1 reel — Society for Visual Education, Inc., 327 S. 

LaSalle St., Chicago, III. 
Complete life cycle of the garden and tree toads. 

Trapping the Weasel — X reel — Pathe Exchange, Inc., 35 W. 
45th St., New York City, and 418 S. Wabash Ave., 
Chicago, III. 

Turtles and Birds — 1 reel — Carter Cinema Producing Cor- 
poration, c/o Evans Film Laboratories, 1476 Broadway, 
New York City. 
Interesting views of green turtles, humming birds, and the American 
eagle at home. 

Visit to a Birdshop — 1 reel — Pictorial Clubs, Inc., 350 Madi- 
son Ave., New York City. 
Birds and animals found in a birdshop. 

The Voice of the Nightingale — Educational Film Ex- 
changes, 370 7th Ave., New York City. 
This unusual one reel subject won the Riesenfeld Gold Medal for 
1925. It is a charming blend of nature and aesthetics. Not a text 
film, but highly educational nevertheless, and will be of special interest 
to all bird lovers, both juvenile and adult. 



378 MOTION PICTURES FOR INSTRUCTION 



Wasps — 1 reel — Society for Visual Education, Inc., 327 S. 
LaSalle St., Chicago, III. 

The life history of the mud-dauber and Polistes wasps — the hatching 
of the eggs — the building of their houses and storing food. 

Where Plants Live — 1 reel — Society for Visual Education, 
Inc., 327 S. LaSalle St., Chicago, III. 

The prime requisites of plant life are soil, moisture, air and light. 
This reel shows the variations of these elements which are required for 
different groups of plants. 

Why Elephants Leave Home — 2 reels — Pathe Exchange, 
Inc., 35 W. 45th St., New York City, and 418 S. Wabash 
Ave., Chicago, III. 

This film shows the labor of the elephant in Ceylon where he is a 
beast of burden, means of transportation, a derrick, and day laborer. 
The titles tend to make this more of an entertainment film than an 
educational. 

Wild Animal Life in the United States — 1 reel — Carter 
Cinema Producing Corporation, c/o Evans Film Labora- 
tories, 1476 Broadway, New York City. 
Educational nature studies — an unusual revue of the passing wild life 

of America. 

Wild Life in North America — 2 reels — General Vision Co., 
104 W. 42nd St., New York City. 

Wild Animals and Their Young — 1 reel — General Vision Co., 
104 W. 42nd St., New York City. 

Wild Flowers — 1 reel — General Vision Co., 104 W. 42nd St., 
New York City. 

With Bob White in the Sedge of Pine Woods of Missis- 
sippi — Field and Stream, 45 W. 45th St., New York City. 

Woodcraft for Boys — 370 ft. — George Kleine Motion Pic- 
ture Films, 49 W. 45th St., New York City. 
The outdoor training given boys at one of America's military schools. 



RENTAL FILMS 



379 



Language and Literature 

Purporting to represent the works of standard authors, 
most of these films are of theatrical origin, too long for class- 
room presentations, and of varying degrees of faithfulness to 
the original. They are included here, without recommenda- 
tion or comment, because some teachers of literature want to 
know where to obtain them. See discussion of relation of 
motion pictures to literature in Chapter III under Literature. 

While this book is concerned primarily with the educational 
film for classroom use (text film), and not for school entertain- 
ment, it is realized that there are community situations where 
the school film entertainment has a place. Some notable films 
are included, not made directly from standard literature. 

Adams Children, The — James W. Foley — Gibson Studio, 
Casselton, N. Dak. 

America — 14 reels — Bolt. W. Chambers — D. TP. Griffith, 1476 
Broadway, New York City. 

And Women Must Weep (The Three Fishers) — 2 reels — 
Charles Kingsley — Educational Film Exchange, 370 
Seventh Ave., Neiv York City. 

Aunt Tabitha — Oliver W. Holmes — Gibson Studio, Casselton, 
N. Dak. 

Barbara Frietchie — Clyde Fitch — Producers Distributing 
Corporation, 469 Fifth Ave., New York City. 

Babbitt — 8 reels — Sinclair Lewis — Warner Bros., 1600 
Broadway, New York City. 

Beau Brummel — 10 reels — Clyde Fitch — Warner Bros., 
1600 Broadway, New York City. 



380 MOTION PICTURES FOR INSTRUCTION 



Ben Hub — General Lew Wallace — Metro-Goldwyn-Mayer 
Distributing Corporation, 729 7th Ave., New York City. 

Bill (Crainquebille) — 4 reels — Anatole France — Red Seal 
Pictures Corporation, 1600 Broadway, New York City. 

Black Beauty — 7 reels — Anne Sewell — Vitagraph, Inc., 
1400 Locust Ave., Brooklyn, N. Y. 

Boy of Flanders {A Dog of Flanders) — 7 reels — Ouida — 
Metro-Goldwyn-Mayer Distributing Corp., 540 Broadway, 
New York City. 

Brook, The — Tennyson — George Kleine Motion Picture 
Films, 49 W. 45th St., New York City. 

Call op the Wild, The — 6 reels — Jack London — Pathe Ex- 
change, Inc., 104 W. 42nd S., New York City, and 418 S. 
Wabash Ave., Chicago, III. 

Captain January — 6 reels — Laura E. Richards — Principal 
Pictures, 1540 Broadway, New York City. 

The Christian — 9 reels — Hall Caine — Metro-Goldwyn-Mayer 
Distributing Corporation, 729 7th Ave., New York City. 

Connecticut Yankee in King Arthur's Court — Mark 
Twain — Fox Corporation, 10th Ave., and 55th St., New 
York City. 

Covered Wagon — 10 reels — Emerson Hough — Famous 
Players-Lasky Corp., 485 5th Ave., New York City. 

Courtship of Myles Standish — -5 reels — Pathe Exchange, 
Inc., 35 W. 45th St., N. Y. C, and 418 S. Wabash Ave., 
Chicago. 



Cricket on the Hearth — 6 reels — Charles Dickens — Pathe 
Exchange, Inc., 35 W. 45th St., N. Y. C, and 418 S. Wab- 



RENTAL FILMS 



381 



ash Ave., Chicago, III. Also 7 reels — Selznick (Universal 
Pictures Corp. Successors), 730 5th Ave., New York City. 

David Copperfield — 7 reels — Charles Dickens — Pathe Ex- 
change, Inc., 35 W. 45th St., New York City, and 418 S. 
Wabash Ave., Chicago, III., and Associated Exhibitors, 
Inc., 35 W. 45th St., New York City. 

David Copperfield — 5 reels — Charles Dickens — General 
Vision Co., 104 W. 42nd St., New York City. 

David Garrick — General Vision Co., 104 W. 42nd St., New 
York City. 

Dickery, Dickery, Dock — y% reel — General Vision Co., 104 
W. 42nd St., New York City. 

Dombey and Son — 6 reels — Charles Dickens — General Vision 
Co., 104 W. 42nd St., New York City. 

Dorothy Vernon of Haddon Hall — 10 reels — Charles Major 
— United Artists Corporation, 729 7th Ave., New York 
City. 

Ebb Tide — 7 reels — Robert Louis Stevenson — Famous Play- 
ers-Lasky Corp., 2017 3rd Ave., New York City. 

The Eternal City — 8 reels — Hall Caine — First National 
Pictures, Inc., 383 Madison Ave., New York City. 

Fagin (Oliver Twist) — Charles Dickens — General Vision Co., 
104 W. 42nd St., New York City. 

Fairy Wood — General Vision Co., 104 W. 42nd St., New Yonk 
City. 

Fatal Marriage, The — Enoch Arden — 5 reels — Alfred 
Tennyson — Film Booking Offices of America, 723 7th Ave., 
New York City. 



382 MOTION PICTURES FOR INSTRUCTION 



Girl of Oz, The — 5 reels — General Vision Co., 104 W. 42nd 
St., New York City. 

Great Expectations — 6 reels — Charles Dickens — Nuart Pic- 
tures, 116 W. 39th St., New York City. 

Hamlet — 7 reels — William Shakespeare — General Vision Co., 
104 W. 42nd. St., New York City. 

Hansel and Gretel — 2 reels — Fairy Story — Universal Pic- 
tures Corp., 1935 5th Ave., New York City. 

Headless Horseman (Legend of Sleepy Hollow) — 7 reels — 
Washington Irving — Film Distributing Corporation, New 
York City. 

Hey Diddle Diddle — % reel — General Vision Co., 104 W. 
42nd St., New York City. 

Holmes, Oliver Wendell — Pictorial Clubs, Inc., 350 Madi- 
son Ave., New York City. 

Hoosier Romance, A — 5 reels — James Whit comb Riley — 
General Vision Co., 104 W. 42nd St., New York City. 

Hoosier Schoolmaster — 6 reels — Edward Eggleston — Ameri- 
can Motion Pictures Corporation, 126 W. 46th St., New 
York City, and Producers Distributing Corp., 469 5th 
Ave., New York City. 

Home Sweet Home — General Vision Co., 104 W. 42nd St., 
New York City. 

Huckleberry Finn — Mark Twain — Paramount Pictures, 485 
Fifth Ave., New York City. 

Hunchback of Notre Dame — 12 reels — Victor Hugo — Uni- 
versal Pictures Corporation, 1600 Broadway, New York- 
City. 



RENTAL FILMS 



383 



Humpty Dumpty — % reel — General Vision Co., 104 W. 42nd 
St., New York City. 

In the Palace of the King — 8 reels — F. Marion C?*awford 
— Metro-Goldwyn-Ma yer Distributing Corporation, 729 
7th Ave., New York City. 

Iron Horse, The — 11 reels — Fox Film Corporation, 10th 
Ave. and 55th St., New York City. 

Irving, Washington — Pictorial Clubs, Inc., 350 Madison Ave., 
New York City. 

Ivanhoe — 5 reels — General Vision Co., 104 W. 42nd St., New 
York City. 

Jack and the Beanstalk — 2 reels — General Vision Co., 104 
W. 42nd St., New York City, and Universal Pictures 
Corp., 1600 Broadway, New York City. 

Janice Meredith — 12 reels — Paul Leicester Ford — Metro- 
Goldwyn-Mayer Distributing Corp., 2018 3rd Ave., New 
York City. 

Kipling's Mandalay — 4 reels — American Motion Picture 
Corp., 126 W. 46 St., New York City. 

Kiss for Cinderella, A — Sir James M. Barrie — Paramount 
Pictures, 485 Fifth Ave., New York City. 

Les Miserables — 12 reels — Victor Hugo — General Vision Co., 
104 W. 42nd St., New York City, and Fox Film Corpora- 
tion, 10th Ave. and 55th St., New York City. 

Light That Failed, The — 7 reels — Budyard Kipling — Fa- 
mous Players-Lasky Corporation, 2017 3rd Ave., New 
York City. 



Little Minister, The — 6 reels — Sir James M. Barrie — Vita 
graph Inc., 1400 Locust Ave., Brooklyn, New York. 



384 MOTION PICTURES FOR INSTRUCTION 



Little Lord Fauntleroy — 10 reels — Frances Hodgson Bur- 
nett — Undted Artist } s Corporation, 729 7th Ave., New 
York City. 

Little Red Riding Hood — 2 reels — Fairy Story — Universal 
Pictures Corporation, 1600 Broadway, New York City. 

Little Red Riding Hood — George Kleine Motion Picture 
Films, 49 W. 45th St., Neiv York City. 

Little Red Riding Hood — 2 reels — General Vision Co., 104 
W. 42nd St., New York City. 

Longfellow, Henry W. — Pictorial Clubs, Inc., 350 Madison 
Ave., New York City. 

Macbeth — William Shakespeare — General Vision Co., 104 W. 
42nd St., New York Cty. 

Main Street — 7 reels — Sinclair Lewis — Warner Bros., 1600 
Broadway, New York City. 

Man Without a Country — 6 reels — Edward Everett Hale 
— Universal Pictures Corporation, 1600 Broadway, New 
York City. Also an eleven reel version by Fox Film 
Corp. 

Maude Muller — 2 reels — John Greenleaf Whittier — Pathe 
Exchange, Inc., 35 W. 45th St., New York City. 

Mark Twain — Pictorial Clubs, Inc., 350 Madison Ave., New 
York City. 

Memories — Carter Cinema Producing Corporation, % Evans 
Laboratories, 1476 Broadway, New York City. 

Merchant of Venice — William Shakespeare — General Vision 
Co., 104 W. 42nd St., New York City. 

Milady — {Twenty Years Aftdn) — 8 reels — Alexander Dumas 



RENTAL FILMS 



385 



— Selznick (Universal Pictures Corporation, Successors), 
730 5th Ave., New York City. 

Mo ana of South Seas — 6 reels — Famous Players-Lasky Cor- 
poration, 485 Fifth Ave., New York City. 

Monsieur Beaucaire — Booth Tarkington — Famous Players- 
Lasky Corporation, 485 Fifth Ave., New York City. 

Monte Christo — Alexandre Dumas — Fox Film Corporation, 
10 Ave., & 55th St., New York City, and 910 S. Wabash 
Ave., Chicago, III. 

Nancy (Oliver Twist) — General Vision Co., 104 W. 42nd St., 
New York City. 

Ne'er Do Well — 8 reels — Rex Beach — Famous Players-Lasky 
Corporation, 2017 3rd Ave., New York City. 

New Wizard of Oz — 5 reels — General Vision Co., 104 W. 42nd 
St., New York City. 

Odyssey — 3 and 5 reels — Homer — General Vision Co., 104 
W. 42nd St., New York City. 

Old Curiosity Shop — 6 reels — Charles Dickens — American 
Motion Picture Corporation, 126 W. 46th St., New York 
City. 

Old Oaken Bucket — General Vision Co., 104 W. 42nd St., 
New York City. 

Old Scrooge — 4 reels — From Charles Dickens — Pictorial 
Clubs, Inc., 350 Madison Ave., New York City. 

Oliver Twist — 8 reels — Charles Dickens — First National, 729 
7th Ave., New York City. 

Our Mutual Friend — 8 reels — Charles Dickens — Film Book- 
ing Offices of America, 723 7th Ave., New York City. 



386 MOTION PICTURES FOR INSTRUCTION 



Quincy Adams Sawyer — 8 reels — Charles Felton Pidgin — 
Metro-Goldwyn-Mayer, 729 7th Ave., New York City. 

Quo Vadis — 6 reels — Henryk Sienlciewicz — George Kleine, 49 
W. 45th St., New York City. 

Penrod — 8 reels — Booth Tarkington — First National Pictures 
729 7th Ave., New York City. 

Penrod and Sam — 7 reels — Booth Tarkington — First National 
Pictures, 729 7th Ave., New York City. 

Peter Pan — Sir James M. Barrie — Paramount Pictures, 485 
Fifth Ave., New York City. 

Pony Express, The — Paramount Pictures, 485 Fifth Ave., 
New York City. 

Power of a Lie — 5 reels — Johann Bojer — Universal Pictures 
Corporation, 1600 Broadway, New York City. 

Prince and the Pauper — 6 reels — Mark Twain — Selznick 
(Universal Pictures Corporation, Successors), 730 5th 
Ave., New York City. 

Pied Piper of Hamlin — George Kleine Motion Picture Films, 
49 W. 45th St., New York City. 

Richard the Lion Hearted — 8 reels — Sir Walter Scott — 
United Artists Corporation, 729 7th Ave., New York City. 

Ride of Paul Revere — Henry Wadsworth Longfellow — 
George Kleine Motion Picture Films — 49 W. 45th St., 
New York City. 

Rip Van Winkle— 7 reels — Washington Irving — Producers 
Distributing Corporation 469 Fifth Ave., New York City. 

Robin Hood — 11 reels — United Artists Corporation, 729 
Seventh Ave., New York City. 



RENTAL FILMS 



387 



Romeo and Juliet — Fox Film Corporation, 10th Ave., and 
55th St., New York City, and 910 8. Wabash Ave., Chi- 
cago, III. 

Scrooge — From Christmas Carol by Charles Dickens — Gen- 
eral Vision Co., 104 W. 42nd St., New York City. 

Sentimental Tommy — Sir James M. Barrie — Paramount Pic- 
tures, 485 Fifth Ave., New York City. 

Sherlock Holmes — 9 reels — A Conan Doyle — Metro- 
Goldwyn-Mayer, 729 7th Ave., New York City. 

Silas Marner — 7 reels — George Eliot — Associated Exhibi- 
tors, 35 W. 45th St., New York City. 

Snow White — General Vision Co., 104 W. 42nd St., New 
York City. 

Spoilers, The — 8 reels — Rex Beach — Metro-Goldwyn-Mayer, 
729 7th Ave., New York City. 

Story of Plymouth Rock, The — Gearge Eleine Motion Pic- 
iw\e Films, 49 W. 45th St., New York City. 

Stranger, The {The First and Last) — 7) reels — John Gals- 
worthy — Famous Players-Laskey Corporation, 2017 3rd 
Ave., New York City. 

Tale of Two Cities — Charles Dickens — General Vision Co., 
104 W. 42nd St., New York City. 

Tess of the D 'Urbervilles — 8 reels — Thomas Hardy — Metro- 
Goldwtyn-Mayer , 729 7th Ave., New York City. 

Thief of Bagdad — 14 reels — Arabian Nights— United Art- 
ists Corporation, 729 7th Ave., New York City. 

Three Muskeeters — 10 reels — Alexandre Dumas — United 
Artists Corporation, 729 7th Ave., New York City. 



388 MOTION PICTURES FOR INSTRUCTION 



Timothy's Quest — 6 reels — Kate Douglas Wiggin — Selznick 
(Universal Pictures Corporation, Successors) , 730 5th 
Ave., New York City. 

Treasure Island — 6 reels — Robert Louis Stevenson — Fox 
Film Corporation, 10th Ave. & 55th St., New York City, 
and 910 S. Wabash Ave., Chicago, III. 

Under Two Flags — 8 reels — Ouida — Universal Pictures Cor- 
poration, 1600 Broadway, New York City. 

Vanity Fair — 8 reels — William Makepeace Thackeray — Gen- 
eral Vision Co., 104 W. 42nd St., New York City, and 
Metro-Goldwyn-Mayer, 729 7th Ave., New York City. 

Vicar of Wakefield — 7 reels — Oliver Goldsmith — Pathe Ex- 
change, Inc., 35 W. 45th St., New York City, and 418 S. 
Wabash Ave., Chicago, III. 

Village Blacksmith — Henry Wadsivorth Longfellow — Gen- 
eral Vision Co., 104 W. 42nd St., New York City. 

Virginian, The — 8 reels — Owen Wister — B. P. Schulbcrj 
Productions, 1650 Broadway. Xew York City. 

Volga Boatman, The — Feature length — Berkovici Producers 
Distributing Corporation, 469 Fifth Ave., Xew York 
City. 

When Knighthood Was in Flower — 12 reels — Charles Ma- 
jor — Famous Players-Laskey Corporation. 2017 3rd Ave., 
New York City. 

Whittier, John Greenleaf — Pictorial Clubs, Inc., 350 Madi- 
son Ave., New York City. 

Without Benefit of Clergy — 6 reels — Eudyard Kipling — 
Pathe Exchange, Inc., 35 IT. 45th St., New York City, and 
418 S. Wabash Ave., Chicago, III. 



RENTAL FILMS 



389 



Your Flag and My Flag — Wilbur D. Nesbit — George Kleine 
Motion Picture Films, 49 W. 45th St., New York City. 
New York City. 



Vocational 

DOMESTIC SCIENCE 

Cocoanuts — 1 reel — General Vision Co., 104 W. 42nd St., 
New York City. 

Coffee — 1 reel — General Vision Co., 104 W. 42nd St., New 
York City. 

Copra — 1 reel — General Vision Co., 104 W. 42nd St., New 
York City. 

Dairy — 1 reel — General Vision Co., 104 W. 42nd St., New 
York City. 

Lesson in Cooking, A — Gibson Studios, Casselton, N. Dak. 

How to make an Omelet taught so perfectly in the film that classes 
have made excellent omelets without a word from the teacher. 

Oyster Industry, The — 1 reel — Carter Cinema Producing 
Corporation, c/o Evans Film Laboratories, 1476 Broad- 
way, New York City. 
A reel on the Chesapeake Bay oyster industry. 

Pineapples — 1 reel — General Vision Co., 104 W. 42nd St., 
New York City. 

Salt — 1 reel — General Vision Co., 104 W. 42nd St., New York 
City. 

Sugar — 1 reel — General Vision Co., 104 W. 42nd St., New 
York City. 



390 MOTION PICTURES FOR INSTRUCTION 

Rice — 1 reel — General Vision Co., 104 W. 42nd St., New York 
City. 

Wheat — 1 reel — General Vision Co., 104 W. 42nd St., New 
York City. 

Wheat Industry — Gibson Studios, Casselton, N. Dale. 

The complete process as carried out in the famous Red River Valley 
— highly educational. 

AGRICULTURE 

Agriculture — 1 reel — General Vision Co., 104 TT. 42nd St., 
New York City. 

America's Granary — 1 reel — Pathe Exchange, Inc., 35 W. 
45th St., New York City, and 418 S. Wabash Ave., Chi- 
cago, III. 

Showing the evolution of farming machinery and the planting, culti- 
vating and harvesting of corn, rice and wheat. 

Central Plains — 2 reels — Society for Visual Education, Inc., 
327 S. LaSalle St., Chicago, III 
A study of the industries of the central plains which are dependent 
primarily upon natural resources — farming methods — stock raising — 
dairying — poultry farming — coal and copper mines — ore boats — lumber- 
ing in Wisconsin, Michigan and Minnesota — limestone quarries in 
Indiana — power house at Niagara. 

Dairy Cattle — Types, Breeds and Characteristics — Society 
for Visual Education, Inc., 327 S. LaSalle St., Chicago, III. 
A short history of the five chief dairy breeds, Holstein, Jersey, 
Guernsey, Ayrshire, and Brown Swiss, with an explanation of their 
characteristics. 

Dairy Cattle and Their Selection — Society for Visual Edu- 
cation Inc., 327\ S. LaSalle St., Chicago, III. 

A comprehensive reel on the subject, in which is explained the es- 
sential differences between different types of dairy cows, why some pro- 
duce more and with greater economy, physical characteristics and the 



RENTAL FILMS 



391 



importance in milk production of constitution, feeding capacity, forma- 
tion of milking organs, etc. 

Dairy Management — 2 reels — Society for Visual Education, 
Inc., 327 S. LaSalle St., Chicago, III. 
Proper methods of dairy management — feeding and milking cows — 
weighing milk — the milk station — water supply — machinery. 

Dairy Tales — 1 reel — Pictorial Clubs, Inc., 350 Madison Ave., 
New YopJc City. 
Interesting details in the processes of butter and cheese manufacture. 

Homestead, The — 3 reels — American Farm Bureau Federa- 
tion, 58 E. Washington St., Chicago, III. 

Horse Sense — 2 reels — American Farm Bureau Federation, 
58 E. Washington St., Chicago, III. 

Spring Valley — 5 reels — American Farm Bureau Federation, 
58 E. Washington St., Chicago, III. 

MANUFACTURING 

Building Materials 

Lumbering — 1 reel — General Vision Co., 104 W. 42nd St., 
New York City. 

Price of Progress — 2 reels — Bathe Exchange, Inc., 35 W. 
45th St., New Ymk City, and 418 S. Wabash Ave., Chi- 
cago, III. 

Cloths and Coverings 

Batik — 1 reel — General Vision Co., 104 W. 42nd St., New 
York City. 

Cloth— 1 reel — General Vision Co., 104 W. 42nd St., New 
York City. 



392 MOTION PICTURES FOR INSTRUCTION 

Hats — 1 reel — General Vision Co., 104 W. 42nd St., New York 
City. 

Hemp — 1 reel — General Vision Co., 104 W. 42nd St., New 
York City. 

Lace — 1 reel — General Vision Co., 104 W. 42nd St., New York 
City. 

Silk — 1 reel — General Vision Co., 104 W. 42nd St., New York 
City. 

Electricity 

Captured Electricity — Bray Productions, Inc., 130 W. 46th 
St., New York City. 

The search for the power substitute for coal, including attempts to 
harness the waves of the ocean and to extract the free electricity from 
the air. 

Electricity — 4 reels — Carter Cinema Producing Corpora- 
tion, % Evans Laboratories, 1476 Broadway , New York 
City. 

Its generation and control and manifold application to our daily needs 
in power plants, telegraphy, etc. 

Mining 

Gold Mining — 1 reel — General Vision Co., 104 W. 42nd St., 
New York City. 

One of the General Vision Company's series on industries, edited for 
schools. 

OiLr—1 reel— General Vision Co., 104 W. 42nd St., New York 
City. 

One of the General Vision Company's series of industries edited for 
schools. 

Romance of Oil — Bray Productions, Inc., 130 W. 46th St., 
New York City. 



RENTAL FILMS 



393 



Sixty years ago whale oil was the only illuminant and the reel opens 
with scenes from the great whaling industry, followed by views of 
oil gushers and modern oil industry of Texas. 

Turning out Silver Bullets — George Kleine Motion Picture 
Films, 49 W. 45th St., New York City. 
Taken at the Philadelphia Mint by permission of the U. S. Treasury 
Department. Transformation of the ore into liquid silver. Casting of 
the ingots. Pressure in the rolling mills, where it under goes the 28 
different operations needed for the production of silver coins. 



Metals 

Beaten Gold — Fox Film Corp., 10th Ave. and 55th St., Neiv 
York City, and 910 S. Wabash Ave., Chicago, III. 
An unusually interesting film on an industry of which little is known. 
The film shows how the gold is rolled between steel rollers and then 
beaten by hand to a thickness of one-two-hundred-thousandth of an 
inch. 

Engine Lathe and its Operation, The — 7 reels — Society for 
Visual Education, Inc., 327 S. LaSalle St., Chicago, III. 

A highly technical study of this important tool for students of 
mechanical and shop operations. 

Tin — 1 reel — General Vision Co., 104 W. 42nd St., New York 
City. 

Universal Milling Machine and its Operation — 8 reels — 
Society for Visual Education, Inc., 327 S. LaSalle St., 
Chicago, III. 
A similar study of another important machine. 



Pottery 

Pottery — 1 reel — General Vision Co., 104 W. 42nd St., New 
York City. 



394 MOTION PICTURES FOR INSTRUCTION 



Woodland Potter, The — Pictorial Clubs, Inc., 350 Madison 
Ave., New York City. 

A potter in the backwoods of Maine models beautiful objects of art 
out of clay. 

Physiology and Health 

Getting Acquainted with Bacteria — Society for Visual 
Education, Inc., 327 S. LaSalle Street, Chicago, III. 

The microscope reveals to the motion picture camera harmless and 
harmful bacteria. The several types are clearly demonstrated; sup- 
plied with diagrams that appeal to the child mind. 

Making Milk Safe — Pictorial Clubs, Inc., 350 Madison Ave., 
New York City. 
The important subject of milk testing clearly illustrated. 

Pasteur — 2 reels — American Motion Pictures Corp., 126 
W. 46th St., New York City. 

Romance of a White Bottle — 1 reel — Carter Cinema Pro- 
ducing Corporation, c/o Evans Film Laboratories, 1476 
Broadway, New York City. 

A film on the value of milk which has been made famous through 
its distribution by one of the great milk distributing corporations of 
America. 

Anatomy and Physiology — 2 reels — General Vision Co., 104 
W. 42nd St., New York City. 
A two reel subject from the biology series of the General Vision Com- 
pany produced for classroom work. 

Aquatic Life — General Vision Co., 104 W. 42nd St., New 
York City. 

Another reel from, the biology series of the General Vision Company. 

* For more technical films on this subject see The Human Body Series, 
Bray Productions, Inc., 120 W. 42nd St., New York City; the list of 
American Medical Films, Inc., 350 Madison Ave., New York City; 
Samuel A. Block, 152 W. 42nd St., New York City; Ford Motion Pic- 
ture Laboratories, Detroit, Mich.; and The American Social Science 
Association, 370 Seventh Ave., New York City. 



RENTAL FILMS 



395 



Blood Circulation — 2 rteels — General Vision Co., 104 W. 42nd 
St., New York City. 
Both one and two reel versions of the subject from the biology series 
of text films. 

Circulation of the Blood — 2 reels — Carter Cinema Produc- 
ing Corporation, c/o Evans Laboratories, 1476 Broadway, 
New York City. 

See Blood Circulation. 

Blood Vessels, The — General Vision Co., 104 W. 42nd St., 
New York City. 

Digestive System — General Vision Co., 104 W. 42nd St., New 
York City. 

Heart and How it Works, The — General Vision Co., 104 W. 
42nd St., New York City. 

How the Fires of the Body Are Fed — Pictorial Clubs, Inc., 
350 Madison Ave., New York City. 

The mechanical processes from the chewing of the food through the 
stomach and intestines into the blood circulatory system. Striking com- 
parisons between other engines and the human body. X-ray photographs 
of the stomach in action. 

Microscope and Beyond, The — 1 reel — General Vision Co., 
104 W. 42nd St., New Yoiik City. 
One of the best of the biology text films of the General Vision Com- 
pany, giving magnified views of protozoa, algae, and marine plankton. 

Reproductive System — General Vision Co., 104 W. 42nd St., 
New York City. 

Respiratory and Urinary Systems — General Vision Co., 104 
W. 42nd St., New York City. 

Safeguarding the Nation — 5 reels — Carter Cinema Produc- 
ing Corporation, c/o Evans Laboratories, 147€ Broadway, 
New York City. 



396 MOTION PICTURES FOR INSTRUCTION 



Physiological and Psychological effects of small amounts of alcohol 
upon the structure and functions of the human body. Liberal use is 
made of microscopic photographs and animated diagrams. 

T-C, Your Sixth Sense — 1 reel — Picture Service Corporation, 
71 W. 23rd St., New York City. 

An interesting film on temperature, atmospheric and body, showing 
the uses of the thermometer. The invention of the thermometer by 
Galileo in 1621, and the modern methods of manufacture are shown. 

Welfare 

Comrades of Success — 2 reels — Carter Cinema Producing 
Corporation, c/o Evans Laboratories, 1476 Broadway, 
New York City. 
Three little gnomes impersonate safety, courtesy and loyalty in in- 
dividual lives. 

Cost of Carelessness — 1 reel — Carter Cinema Producing 
Corporation, c/o Evans Laboratories, 1476 Broadway, 
New York City. 

High Cost of Hurry — 2 reels — Carter Cinema Producing 
Corporation, c/o Evans Laboratories, 1476 Broadway, 

New York City. 
The most frequent accidents in the home, on the street and on the 
cars and how they may be avoided. 

Our Children — 1 reel — Carter Cinema Producing Corpora- 
tion, % Evans Laboratories, 1476 Broadway, New York 
City. 

Athletics and Sports 

Athletic Movements Analyzed — 2 reels — Pathe Exchange, 
Inc., 35 W. 45th St., New York City, and 415 S. Wabash 
Ave., Chicago, III. 

Various athletic movements are slowed down to eight times less than 
normal speed, an unusual study in the muscular action involved in 



RENTAL FILMS 



397 



physical training. Especially valuable to show "form" as exhibited by 
champion athletes. Syllabus by physical training staff, Board of Edu- 
cation, New York City. 

Back to Nature — Pictorial Clubs, Inc., 350 Madison Ave., 
New York City. 

Life in a girls' camp. Diving, swimming, aquaplaning, canoeing and 
other outdoor sports in both slow and normal motion. 

Animal Athletes — Pathe Exchange, Inc., 35 W. 45th St., 
New York City, and 418 S. Wabash Ave., Chicago, III. 
The play of wild and domesticated animals. A liberal number of slow 
motion views. 

Baseball Slow Motion Pictures — 1 reel — American Motion 
Picture Coiip., 126 W. 46th St., New York City. 
Babe Ruth making a home run and other baseball champions in action. 

Boxing — 2 reels — General Vision Co., 104 W. 42nd St., New 
York City. 

An instructional film from the L T . S. Naval Academy Series. 

Building Winners — Pathe Exchange, Inc., 35 W. 45th St., 
New York City, and 418 S. Wabash Ave., Chicago, III. 
Training for track and football with slow motion photography. How 
Jack Dempsey keeps fit. 

Brain and Brawn — 1 reel — Pathe Exchange, Inc., 35 W. 45th 
St., New York City, and 418 S. Wabash Ave., Chicago, III. 

Interesting contrast between the old-time school with all study and 
no play and the modern school exemplified by the Culver Military 
Academy with its wealth of physical training features, such as drills, 
horse-back riding, tennis and other sports. 

By Hook or Crook — 1 reel — Pathe Exchange, Inc., 35 W. 45th 
St., New York City, and 418 S. Wabash Ave., Chicago, III. 
An amusing reel of which the producer says "Fred Stone and Rex 
Beach go fishing together. The well known comedian does not fish 
scientifically while the eminent author does, but results show that 
sometimes luck is better than science/ 5 



398 MOTION PICTURES FOR INSTRUCTION 



Call of the Game, The — 1 reel — Pathe Exchange, Inc., 35 
W. 45th St., New York City, and 418 S. Wabash Ave., 
Chicago, III. 

The outdoor sports of hunting deer and mountain climbing compared 
with the more popular sports of football and baseball. 

Champions — 1 reel — Pathe Exchange, Inc., 35 W. 45th St., 
New York City, and 418 S. Wabash Ave., Chicago, III. 

Championship form in golf, tennis, sprinting, baseball, diving, swim- 
ming and crew work. Includes some excellent slow motion photography. 

Day with the Circus, A — 2 reels — Carter Cinema Produc- 
ing Corporation, c/o Evans Laboratories, 1476 Broadway, 
New York City. 
All the delights of the circus — bare-back riding, chariot racing, trained 
horses, ponies, dogs and monkeys. 

Desha's Tryst with the Moon — y 2 reel — Pictorial Clubs, 
Inc., 350 Madison Ave., New York City. 

An artistic reel of a dancer in a moonlit vale. Slow motion pictures 
show the details of the graceful movements. 

Danger Lure, The — 1 reel — Pathe Exchange, Inc., 35 W. 45th 
St., New York City, and 418 S. Wabash Ave., Chicago, III. 

The thrills and risks of motor-boat racing, wrestling, pole vaulting, 
jumping, hurdling and sprinting. 

Fields of Glory — 1 reel — Pathe Exchange, Inc., 35 W. 45th 
St., New York City, and 418 S. Wabash Ave., Chicago, III. 
The wholesome rivalry of sports such as polo, tennis and boxing be- 
tween the various countries. 

Fishing Fever — 1 reel — Pathe Exchange, Inc., 35 W. 45th St., 
New York City, and 418 S. Wabash Ave., Chicago, III. 
All forms of an ancient sport from trout fishing in a mountain stream 
to trolling for bluefish from the deck of an ocean-going ship. 

Four R's — George Kleine Motion Picture Films, 49 W. 45th 
St., New York City. 
In the picture of the exceptional training given at Culver Military 



RENTAL FILMS 



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Academy, the three R's, "readin," "ritin," and "rithmetic" have been 
supplanted by a fourth, riding. Inspiriting views of Culver's cavalry 
troop. 

Future Greats — Pictorial Clubs, Inc., 350 Madison Ave., New 
York City. 

Slow motion pictures of the younger generation getting their start at 
baseball, tennis, golf and polo. 

Golfing with Jess Sweetser — % reel — Pictorial Clubs, Inc., 

350 Madison Ave., New York City. 
Yale's winner of the American and British Amateur Gold Champion- 
ships. Slow motion views permit close study of the various shots. 

Girls and Records — 1 reel — Pathe Exchange, Inc., 35 W. 
45th St., New York City, and 418 S. Wabash Ave., Chi- 
cago, III. 

The producer says, "This picture contrasts the simple sport of cutting 
roses indulged in by the girl of fifty years ago and the kind of sports 
girls go in for today." Mrs. Clayton's form in golf, Helen Wills' skill 
in tennis and Eileen Riggin's perfect diving are shown in normal and 
slow motion. 

Golf in Slow Motion — Pictorial Clubs, Inc., 350 Madison 
Ave., New York City. 

Two great women champions, Cecil Leitch and Alexa Sterling, at both 
normal and slow motion. 

Grace in Slow Motion — Pictorial Clubs, Inc., 350 Madison 
Ave., New York City. 
Classic dancing in slow motion. The petal dance, the garland dance, 
and American Indian dances, all done with a setting of beautiful spring 
landscapes. 

Hobbies— \1 reel— Pathe Exchange, Inc., 35 W. 45th St., New 
York City, and 418 S. Wabash Ave., Chicago, III. 
Playing poker and playing fish are contrasted in this reel. 



Hoofbeats — 1 reel— Pathe Exchange, Inc., 35 W. 45th St., 
New York City, and 418 S. Wabash Ave., Chicago, III. 



400 MOTION PICTURES FOR INSTRUCTION 



"The daily routine life of race horses. What they eat and drink, and 
how they exercise." Some good slow motion photography, exciting races 
and jumps. 

Happy Years, The — 1 reel — Pathe Exchange, Inc., 35 W. 45th 
St., New York City, and 418 S. Wabash Ave., Chicago, III. 
The old swimming hole and the juvenile baseball fields that we all 
love. 

Invaders — 1 reel — Pathe Exchange, Inc., 35 W. 45th St., New 
York City, and 418 S. Wabash Ave., Chicago, III. 

International sporting events including tennis, cricket, polo, racing, 
golf and yachting. 

National Rash, The — 1 reel — Pathe Exchange, Inc., 35 W. 
45th St., New York City, and 418 S. Wabash Ave., Chi- 
cago, III. 

The evolution of the game of golf. 

Nature's Rouge — 1 reel — Pathe Exchange, Inc., 35 W. 45th 
St., New York City, and 418 S. Wabash Ave., Chicago, III. 

Girls at the summer camp of the Sargent School. Swimming, basket 
ball and canoeing. 

On Guard — 1 reel — Pathe Exchange, Inc., 35 W. 45th St., 
New York City, and 418 S. Wabash Ave., Chicago, III. 

Evolution of the art of self-defense. Reel includes dueling, fencing 
and boxing. 

Olympic Mermaids — 1 reel — Pathe Exchange, Inc., 35 W. 
45th St., New York City, and 418 S. Wabash Ave., Chi- 
cago, III. 

Four women champions swimmers — Gertrude Ederle, Eileen Riggin, 
Helen Meany and Doris O'Meara. 

Our Defenders — 1 neel — Pathe Exchange, Inc., 35 W. 45th 
St., New York City, and 418 S. Wabash Ave., Chicago, III. 
Training and sports at Annapolis and West Point, with emphasis on 
the points developed especially at each academy. 



RENTAL FILMS 



401 



Pheasant Hunting at the Famous Blooming Grove Club— 
1 reel — Carter Cinema Producing Corporation, c/o Evans 
Film Laboratories, 41?'€ Broadway, New York City. 
Spirited illustrations of an interesting sport. 

Rescued — Pictorial Clubs, Inc., 350 Madison Ave., New York 
City. 

Showing the coast guard and the rescue of a girl. 

Rough and Tumble — 1 reel — Pathe Exchange, Inc., 35 W. 
45th St., Xew York City, and 418 S. Wabash Ave., Chi- 
cago, III. 

Bronco busting, push ball, football, wrestling and field hockey. 

Star Pitcher, A — Pictorial Clubs, Inc., 350 Madison Ave., 
Xew York City. 

The secret of Alexander's pitching shown by means of the slow 
motion camera. Action of a pitching machine. 

Swimming — 1 reel — General Vision Co., 104 W. 42nd St., Xew 
York City. 

One of the U. S. Naval Academy Series made for instructional pur- 
poses. 

Swimming and Diving — 2 reels — Society fo r> Visual Education, 
Inc., 327 S. LaSalle Street, Ch icago. III. 
Produced by Dr. White at the University of Chicago. Presents such 
stars as Johnny Weissmueller in both slow motion and normal photog- 
raphy, the emphasis being on correct form in each event. 

Sun and Snow — 1 reel — Pathe Exchange, Inc., 35 W. 45th 
St., New York City, and 418 S. Wabash Ave., Chicago, III. 
Contrasting scenes of winter and summer sports at Lake Placid and 
down in Florida. 

Solitude and Fame — 1 reel — Pathe Exchange, Inc., 35 W. 
45th St., New York City, and 418 S. Wabash Ave., Chi- 
cago, III. 

The sports of the city contrasted with the pleasures of the country. 
Some interesting slow motion photography. 



402 MOTION PICTURES FOR INSTRUCTION 



Stunts — 1 reel — Pathe Exchange, Inc., 35 W. 45th St., New 
York City, and 418 S. Wabash Ave., Chicago, III. 
The hard work necessary to attain skill in athletics. Stunts of Bird 
Millman, the tight-rope walker, and Johnny Weissmueller, trick swim- 
mer. 

Spikes and Bloomers — 1 reel — Pathe Exchange, Inc., 35 W. 
45th St., New York City, and 418 S. Wabash Ave., Chi- 
cago, III. 

Sports of the modern girl contrasted with those of the girls of former 
days — running, jumping, diving, throwing the discus and javelin, base- 
ball, and basket ball. Some excellent slow motion photography. 

Sporting Speed — 1 reel — Pathe Exchange, Inc., 35 W. 45th 
St., New York City, and 418 S. Wabash Ave., Chicago, III. 

Exciting races among men and dogs — ice skating, ice boating, motor 
boating. All require a high degree of speed. 

Sporting Armor — 1 reel — Pathe Exchange, Inc., 35 W. 45th 
St., New York City, and 418 S. Wabash Ave., Chicago, III. 

The armor of the middle ages contrasted with the sturdy bodies 
acquired in the games of football, ice hockey, etc., of modern 
times. 

Tennis in Slow Motion — Pictorial Clubs, Inc., 350 Madison 
Ave., New York City. 

A match game between Johnston of California and Patterson, the 
Australian Champion. 

Taking a Chance — 1 reel — Pathe Exchange, Inc., 35 W. 45th 
St., New York City, and 418 S. Wabash Ave., Chicago, III. 
The hazards of cross country riding, jumping, football, baseball. 
Hazardous riding by the mounted police. 

Sporting Rhythm — 1 reel — Pathe Exchange, Inc., 35 W. 45th 
St. New York City, and 418 S. Wabash Ave., Chicago, III. 
Dancing, ball playing and boxing demonstrating rhythm of move- 
ment in athletics. 



RENTAL FILMS 



403 



What Form Means to ax Athlete — George Kleine Motion 
Picture Films, 49 W. 45th St., New York City. 
By a series of animated illustrations with the camera designed to re- 
tard the action, the important movements of the athlete's body are 
shown from start to finish in the different events of a track meet. 

Silvery Art — 1 reel — Bed Seal Pictures Corporation, 729 
Seventh Ave., New York City. 
An interesting reel depicting the art of skiing, also beautiful scenes 
among the highest peaks of the Swiss Alps. 

Flirting with Death — 2 reels — Red Seal Pictures Corpora- 
tion, 729 Seventh Ave., New York City. 

Dangers and thrills of skiing among the highest peaks of the Alps. 

Wrestling — 1 reel — General Vision Co., 104 W. 42nd St., New 
York City. 

Another of the instructive U. S. Naval Academy Series. 

Wild and Western — 1 reel — Pathe Exchange, Inc., 35 W. 
45th St., New York City, and 418 S. Wabash Ave., Chi- 
cago, III. 

A rodeo in Calgary, Canada — expert riding, steer roping and other 
sports of the frontier. A thrilling picture of a great western round-up. 

Chemistry 

Chemistry of Combustion — Pictorial Clubs, Inc., 350 Madi- 
son Ave., New York City. 
Experiments to show chemical combinations which produce combus- 
tion. 

Crystals in Formation — George Kleine Motion Picture 
Films— 49 W. 45th St., New York City. 
Unusual pictures of crystal formations in the chemical world. 

Experiments with Sulphur — Pictorial Clubs, Inc., 729 7th 
Ave., New York City. 
Chemical processes and commercial applications. 



404 MOTION PICTURES FOR INSTRUCTION 



Physics 

Einstein Theory of Relativity — i reels — Bed Seal Pictures 
Corporation, 729 Seventh Ave., New York City. 
A highly commended film on a subject which has engaged the public 
as well as scientific interest of the world for several years. 

Electricity and Magnetism 

Electro-magnetic Induction — Electro-magnetism (2 reels) 
— Electrostatics — High Frequency Currents — Mag- 
netism — Six Reels by Professor H. B. Lemon — Society 
for Visual Education, Inc., 327 S. LaSalle St., Cfiicago, III. 

Miscellaneous 

Camphor — Fox Film Corporation, 10th Ave. and 55th St., 
New York City, and 910 S. TV abash Ave., Chicago, III. 

Correct Position and Movement for "Writing — United Cin- 
ema Co., 120 W. 41st St., New York City. 
A demonstration of the arm-movement principles of penmanship. 

Cube and Square Root — 1 reel — Carter Cinema Producing 
Corporation, c/o Evans Film Laboratories, 1476 Broad- 
way, New York City. 
An attempt to objectify the study of cube and square root by means of 
photography and animated diagrams. A type of film concerning which 
the author has elsewhere expressed doubt as to the appropriateness of 
the motion picture as a medium of instruction (see p. 82). 

It is listed here in order that teachers may form their own opinion of 
the value of the motion picture in the teaching of mathematics. 

Death Ray, The— 2 reels— Pathe Exchange, Inc., 35 TT. 45th 

St., New York City, and 418 S. Wabash Ave., Chicago, III. 
The producer says. "H. Grindell Mathews, English scientist and in- 
ventor of a 'death ray/ shows some of the machinery he uses in casting 



RENTAL FILMS 



405 



the mysterious beam, which is said to be capable of destroying life and 
matter at great distances. The two reels were made with the assistance 
of the French Government/'' 

Famous Melody Series — Pathe Exchange, Inc., 35 W. 45th 
St., New York City, and 418 S. Wabash Ave., Chicago, III. 
Single reel subjects presenting musical picturizations of songs of dif- 
ferent countries. The first release is "Songs of Ireland," which will be 
followed by twelve other subjects, all of which can be obtained through 
the Pathe Exchange. 

Is Conan Doyle Eight ? — 2 reels — Pathe Exchange, Inc., 35 
W. 45th St., New York City, and 418 8. Wabash Ave., 
Chicago, III. 

An expose of the tricks used by fake spiritualists in their alleged 
communications with the dead. Shows the value of research by serious 
students and scientists. 

My Lady's Perfume — Fox Film Corporation, 10th Ave. and 
55th St., New York City, and 910 S. Wabash Ave., Chi- 
cago, III. 

Entertaining and instructive, showing the perfume industry in the 
town of Grasse on the Riviera, where the world's finest perfume is made. 

Eambles of a Raindrop — Fox Film Corporation, 10th Ave. 
and 55th St., New York City, and 910 S. Wabash Ave., 
Chicago, III. 

The experiences of a raindrop in geyser, cloud, waterfall, lakes, rivers 
and ocean. 

Rembrandt — 7f reels — Pictorial Clubs, Inc., 729 7th Ave., 
New York City. 

Birthplace and love story of the great painter. Years of success 
and then poverty and misery of old age. Striking reproductions of 
some of Rembrandt's famous paintings including "The Xight Watch," 
"The Man with the Golden Helmet" and the artist's son, ''Titus." 

An original music score furnished with this film. 

Salt of the Earth — Fox Film Corporation, 10th Ave. and 



406 MOTION PICTURES FOR INSTRUCTION 



55th St., New York City, and 910 S. Wabash Ave., Chi- 
cago, III. 

A story introduces and forms the vehicle for the exposition of the 
mining and refining of salt. 

Story of the Lucifer Match, The — Pictorial Clubs, Inc., 
7U9 7th Ave., New York City. 
A complete story of the manufacture of a match. 

Winter's Gift to Summer — Pictorial Clubs, Inc., 7\29 7th 
Ave., New Yark City. 
The process of modern ice harvesting. 

Young Salts — % reel — George Kleine Motion Picture Films, 
49 W. 45th St., New York City. 
Work and play at the Culver Military Academy. 



PURCHASE FILMS 



It is against the policy of the principal motion picture pro- 
ducing corporations to sell prints, as their business is built 
on rentals to theaters. Such films as are available for sale to 
schools are made by welfare and industrial organizations, or 
by the non-theatrical agencies or individuals that have had 
the capital and experience to attempt production. As these 
are comparatively few, it will be more convenient to list these 
under the firm names, rather than by subjects. 

Films listed in the three Libraries of Part I (Chapters II 
and III) are not relisted in Part II. 

List of Principal Firms Having Educational Films For Sale 

Bray Productions, Inc., 120 W. 42nd St., New York City. 
Visual Text Sales Co., 1268 So. Grenshaw Blvd., Los An- 
geles, Calif. 

Carlyle Ellis, 220 W. 42nd S., New York City. 

Raymond L. Ditmars, New York Zoological Society, 

Borough of Bronx, New York City. 
The DeVry Corporation, Portable Motion Picture Projector 

Manufacturers, 1111 Center St., Chicago, 111. 
The Ford Motion Picture Laboratories of the Ford Motor 

Company, Detroit, Mich. 
Apollo Film Company, (Beseler Films), 286 Market St., 

Newark, New Jersey. 
Urban-Kineto Corporation,* Irvington-on-the-Hudson, New 

York. 

* Xame changed, as we go to press, to Spiro Film Corporation, 
Irvington-on-the-Hudson, New York. 

407 



408 MOTION PICTURES FOR INSTRUCTION 

Reels issued by the United States Government Departments below 
are listed under the proper subject-matter classification in the list of 
Free Films (Comprehensive List of Educational Films). These are 
also sold to schools at cost. 

Office of Motion Pictures, United States Department of 

Agriculture, Washington, D. C. 
Department of the Interior, Bureau of Mines, Pittsburgh, 

Pa. 

United States Department of Labor, Children's Bureau, 
Washington, D. C. 

United States Department of Public Health Service, Wash- 
ington, D. C. 

Pathe Exchange, Inc. (Long Term Lease) — 35 W. 45th St., 
New York City. 

The Pathe Films are listed under Rental Films in Chapter VI, except 
those already listed in the Film Libraries in Chapter III. 

Most of the industrial firms (like the International Har- 
vester Company and General Electric Company) which have 
films listed under Free Films in the Comprehensive List, 
will sell prints at cost to educational institutions. 

Schools starting to form permanent film libraries would do 
well to write any of the firms or exchanges mentioned in this 
book, as many of them will make up prints to order, even 
though they do not advertise prints for sale. 

BRAY PRODUCTIONS INC. 
120 W. 42nd St., New York City. 

DAYPHO-BRAY LIBRARY OF FILMS 

(Mostly on General Science Subjects) 

The reels are of the short lengths so desirable for class use. 
They vary from 150 feet to a full 1000 foot reel. The catalog 
is too extensive for our reprinting and contains nearly a thou- 



PURCHASE FILMS 



409 



sand titles on school topics, classified by the Dewey decimal 
system, used by most libraries for book classification. 

The group in General Science has been especially edited for 
school use and is summarized as follows : 

1. Air and Water — Eleven Subjects, 6 Reels 

2. Energy — Twelve Subjects, 7 Reels 

3. The Earth — Fourteen Subjects, 5 Reels 

4. Life — Thirty-two Subjects, 16 Reels 

5. The Universe — Eight Subjects, 6 Reels 

In addition to the General Science films, the following 
series on The Science of Life was made under direction of the 
Surgeon General in the U. S. Public Health Service. The 
series established a new high standard in instructional films : 

Part I — General Biology 

Protoplasm. The Beginning of Life 
Reproduction in Lower Forms of Life 
Reproduction in Higher Forms 
Interdependence of Living Things 

Part II — Communicable Diseases 

How Plants and Animals Cause Disease 
How Disease is Spread 
How to Prevent Disease 
How the Mosquito Spreads Disease 
The Fly as a Disease Carrier 

Part III — Personal Hygiene 

Reel 10. Personal Hygiene for Young Women 
Reel 11. Personal Hygiene for Young Men 
Reel 12. General Personal Hygiene 

Of the same high quality is a Bray series on "Elements of 
the Automobile" produced for the XL S. Army: 

Reel 1 — The Running Gear and Differential 

Reel 2 — The Running Gear and Differential (Concluded) 



Reel 1. 
Reel 2. 
Reel 3. 
Reel 4. 



Reel 5. 
Reel 6. 
Reel 7. 
Reel 8. 
Reel 9. 



410 MOTION PICTURES FOR INSTRUCTION 



Reel 3 — The Engine 

Reel 4 — The Engine (Concluded) 

Reel 5 — The Carburetor 

THE HUMAN BODY 
Statement (Condensed) from the Producers 

"The Human Body" prepared by Jacob Sarnoff, M.D., 
associate in the Department of Anatomy in the Long Island 
Medical College. Made originally in connection with Dr. 
Sarnoff 's work at the Long Island Medical College, the pic- 
tures were prepared for specific educational purposes. As 
their success in classroom work was demonstrated, they were 
reedited and enlarged for general educational use. 

"For the first time the attempt is made to utilize human 
dissection for general anatomical and physiological instruc- 
tion. This would be obviously impossible in any other way 
than through the motion pictures. Dissection is supplemented 
by animated drawings to reveal hidden processes and func- 
tions and by mammalian organs functioning in actual ]if e. By 
the Pneumo-Viscera method, originated by the author to de- 
monstrate the organs of the body by inflating them with air, 
much that is obscure even in ordinary laboratory dissection is 
made plain." 

A brief synopsis from the producers of this five reel series 
follows : 

Reel 1 — The Digestive Tract. Animated drawings portray the entire 
digestive tract, and the relation of the different organs to each other. 
Actual dissection of the human abdomen shows the anatomical ar- 
rangements of these organs. Then animation demonstrates the passage 
of food from the mouth through the gullet, stomach and small and large 
intestines. 

Reel 2 — A Respiratory System. Animated drawings first show the 
location and inter-relation of the respiratory organs. Then dissection 
and demonstration by the Pneumo-Viscera method of the lungs as they 



PURCHASE FILMS 



411 



appear in the body. Animated drawings reveal the passage of the air 
through the lungs and its distribution by the blood to all parts of the 
body. 

B. Urinary System. The entire urinary system is dissected and as- 
sembled outside the body so that its important functions can be studied 
in themselves as well as the relation of the urinary tract to the cir- 
culatory and other systems. 

Reel 3 — The Heart and How It Works. Presents actual dissection of 
the human heart, demonstrating in detail the construction of its cham- 
bers, partitions, valves and cords. The mechanism and action of the 
valves of the heart are presented by actual specimens and animated 
drawings. The action of the real living heart is seen at normal rate and 
in a slow motion picture. 

Reel 4 — The Blood Vessels and Their Functions. The vascular sys- 
tem is illustrated by actual dissections of the main blood vessels and by 
animated drawings. The course of the blood flow is illustrated by 
animation. The cycle of a drop of blood is seen from its starting point, 
the heart, until its return. Actual flow of blood is seen through a micro- 
scope. 

Reel 5 — Human Development. The reel is a careful yet frankly 
treated analysis of the human reproduction. The biology and physiol- 
ogy of reproduction is touched upon through the use of animated draw- 
ings sufficiently to make clear the fertilization of the ovum. Then are 
shown in succession an unusual series of pictures revealing the develop- 
ment of the ovum through its various stages of embryo, fetus and in- 
fancy. Charts carry this development forward from infancy to maturi- 
ty. The treatment of this whole subject is simple, direct and purely 
scientific. 

Reel 6 — The Fuel System and Ignition. 

Reel 7 — Ignition (Continued). 

Reel 8 — Ignition (Concluded). 

Reel 9 — The Cooling System and the Clutch. 

Reel 10 — The Transmission. 

Reel 11 — The Transmission (Concluded). 

Reel 12— The Brakes. 

Mr. J. R. Bray is justified in calling these ' i pedagogical mo- 
tion pictures.' ' They utilize animated technical drawings, 
" phantom drawings" for seeing the invisible; and using the 
well known principle of " divide and conquer/ ' he has made 



412 MOTION PICTURES FOR INSTRUCTION 



each step so short and so richly illustrated that what seemed 
difficult as a whole, seems easy when separated into part s. 
Repetition is used for recall at critical points in taking a new 
step. The two series here mentioned are the best illustrations 
at hand of the author's contention in Chapter X, that ample 
capital as well as technical direction is needed for the 
production of films designed for class instruction — two 
qualifications seldom found together in non-theatrical pro- 
duction. 

These groups may be rented from The University of "Wis- 
consin. Prints from the whole library may be purchased 
from The Bray Productions, Inc., 120 W. 42nd St., New York 
City, at 11 cents a foot. 



VISUAL TEXT SALES CO 

1268 South Crenshaw Blvd., Los Angeles, Calif. 
(Mostly on Athletic Subjects — $60 per reel) 
Volume I 

MARCHING 

This film shows gymnastic marching, covering some eighteen move- 
ments analyzed with the slow speed camera. Military marching, squad 
and company movements and comparisons with gymnastic marching. 
Novelty marching; figure marching, etc. 

Volume II 

FORMAL GYMNASTIC DRILLS 

Methods of giving commands and the execution thereof. Sample 

developmental drills with and without hand apparatus. Various 

methods of forming the class on the floor. Emphasis on correct form 
in fundamental and derived positions. 



PURCHASE FILMS 



413 



Volume III 

CORRECTIVE GYMNASTICS 

Illustrates correct and incorrect postures. Posture tests. 

Shows common postural defects, such as spinal curvature, sloping 
neck, round shoulders, hollow back, and the corrective procedure for each 
type. 

Illustrates common arch defects, the treatment of broken arches, with 
illustrations of interesting corrective games. 

Defects of heart and lungs, with exercises for various types. 

Nutrition cases, showing means of recognizing cases and illustrating 
the treatment. 

Volume IV 

COMBATIVE ACTIVITIES 

The fundamental principles of hand to hand fighting. Boxing 
and wrestling, illustrating the various holds and positions for offensive 
and defensive work. Rules and procedure in conducting amateur 
bouts. 

Volume V — Part I 

TUMBLING — ELEMENTARY INDIVIDUAL 

This shows preliminary exercises leading up to and including simple 
tumbling stunts, somersaults, etc., that any child can do without equip- 
ment, and their value in physical development. 

Volume V — Part II 

TUMBLING ADVANCED INDIVIDUAL 

This reel covers advanced forms of tumbling. The work is analyzed 
by the slow speed camera and suspended animations. Shows clearly the 
muscles brought into play in such stunts as handsprings, round-off s, 
forward and back somersaults, etc. 



416 MOTION PICTURES FOR INSTRUCTION 



clearly illustrated and analyzed with the slow speed camera. All the 
standard swimming strokes covered in detail. 

Volume XI — Part II 
Life Saving and diving 

Elementary and advanced standard and fancy diving analyzed with 
slow speed camera and suspended animation. Depicts very clearly the 
approach to a drowning person, breaking holds, methods of towing and 
artificial respiration. 

Fundamentals of Football — (2 reels) 
By Knute Rockne, famous coach of Notre Dame University. 

CARLYLE ELLIS 
220 W. 42nd St., New York City. 
(Mostly on Health and Welfare Subjects) 

The prints below may be purchased from the address above, at $100 
per reel. They may also be rented or borrowed from the organizations 
for whom they were made. Many state boards of health and state 
universities have some of these films. 

1. A Nurse Among the Tepees — 1 reel. 

Records a winter visit to the Arapahoes of Wyoming at forty below 
zero. A public health nurse has been working among this unrecon- 
structed tribe and the results, like the elements in this picture, are 
extraordinary. 

2. Pueblos and Pickaninnies — 1 reel. 

Through the steaming lowlands of Louisiana, where the population is 
almost wholly African, to the Pueblos of New Mexico. Native life is 
shown just as it is. 

3. The Golden Year — 1 reel. 

A retrospect of the war activities of the Y. W. C. A., ending with the 
launching of the "Blue Triangle" at Hog Island shipyard. 



PURCHASE FILMS 



417 



4. The Highroad — 3 reels. 

A human narrative made to illustrate the most modern ideal of in- 
dividual and social health, especially in its application to women. In 
this new conception, health includes not only bodily vigor and poise but 
a wholesome and vital expression in work, recreation, companionship 
and the whole emotional and spiritual life. 

(Made for the Bureau of Social Hygiene, Y. W. C. A.) 

5. Meeting the Menace of Tuberculosis — 2 reels. 

Telling in narrative review what happens to a family attacked by 
tuberculosis. Public provisions for reaching, diagnosing and treating 
the cases take one through clinic, preventorium, hospital, sanatorium and 
occupational reconstruction. Full clinical data are presented in a pop- 
ular way. 

( Made for the College of Physicians and Surgeons of Columbia Uni- 
versity and the New York Tuberculosis Association. Supervised by Dr. 
Iago Galdston.) 

6. The Kid Comes Through — 1 reel. 

A fast-moving little drama of child life in a big city, made with child 
players, to be shown to children. The story dramatizes, without preach- 
ing, the value of physical fitness derived from fresh air, wholesome food, 
cleanliness and right health habits. 

(Made for the New York Tuberculosis Association.) 

7. Take No Chances — 1 reel. 

Distributed by the National Tuberculosis Association. 

Made to enlist active public interest in the fight against tuberculosis, 
and especially to overcome the prejudice, born of ignorance and fear, 
against the public clinic and sanatorium. A brief human narrative in- 
troduces the twin institutions, which are seen for what they really are. 

(Made for the New Jersey Tuberculosis League.) 

8. Our Children — 2 reels. 

After three years of active service this picture is still the standard 
work on child welfare. It is the authentic story of what happened in 
one typical American community when a Children's Bureau health con- 
ference woke it up. 

(Made for the Children's Bureau, U. S. Dept. of Labor.) 

9. Foot Folly — 1 reel. 

An unpreachy preachment on right shoes and the care of the feet, 



418 MOTION PICTURES FOR INSTRUCTION 



especially for girls and young women. Combining lively personal nar- 
rative, amusing photographic oddities and practical help, it has been a 
marked factor in creating the low-heeled shoes styles. 
(Made for Bureau of Social Education, Y. W. C. A.) 

10. New Jersey Health Crusaders — 1 reel. 

Shows by example how a community may make a winning fight against 
tuberculosis by starting with the children and teaching the basis of pre- 
vention. An entertaining review of work among New Jersey children 
that is readily adaptable, by a few title changes, to extensive use else- 
where. 

(Made for the Xew Jersey Tuberculosis League.) 

11. From Whistle to Whistle — 2 reels. 

A pictorial history of the conditions that led to protective legislation 
for women in American industry, contrasting good and bad conditions in 
various periods to the present. 

(Made for the National Board of the Y. W. C. A.) 

12. When Women Work — 2 reels. 

A dramatization of the Federal standards for working women as to 
hours, wages and working conditions in factories, showing the evil ef- 
fects of unfair conditions and the restorative effect on individuals and 
community of a rise to the accepted standards. The story is woven 
around the lives of two girls in strongly contrasted but authentic cir- 
cumstances. 

(Made for the Women's Bureau, U. S. Department of Labor.) 

13. An Equal Chance — 2 reels. 

A narrative of the battle with the influenza epidemic in one rural 
community that leads into exposition of the value of the public health 
nurse everywhere and reviews her varied activities under many strange 
circumstances. 

(Made for the National Organization for Public Health Nursing.) 

14. In Middies and Bloomeks— 1 reel. 

A sunny narrative of a city girl worker who went to a Y. W. C. A. 
vacation camp near New York, of what sh^ found there and what it did 
for her. Emphasis: the spirit of comradeship — body building — love of 
outdoor beauty — activity. 

(Made for the Y. W. C. A.) 



PURCHASE FILMS 



419 



15. Well Born — 2 reels. 

(Made for Children's Bureau.) 



16. Big Gains for Little Bodies — 1 reel. 



LIVING NATURAL HISTORY 



By Raymond L. Ditmars 
care of 

the New York Zoological Society 
Borough of Bronx 
New York City 

{Biology and Nature Study) 



This series is so complete and scientifically listed, that it 
is put down here, in abbreviated form, with Mr. Ditmar's 
own classifications. Mr. Ditmar's catalog gives contents of 
each film and other information of great value to teachers. 

Reel 39 Planaria (Shell-less Molluscs) is included in the 
One Hundred Twenty Reel Library in Chapter II of this book. 
They are sold at about $100 per reel. 



Reel 4. Cat Animals. 
Reel 5. Bears. 

Reel 6. Canines and Smaller Carnivores. 

Carnivores (continued). Seals. 
Reel 7. Smaller Carnivores; Seals, 



MAMMALS 



Primates. 



Reel 1. 
Reel 2. 
Reel 3. 



Anthropoid Apes. 
New World Monkeys. 
Old World Monkeys. 



Carnivores. 



420 MOTION PICTURES FOR INSTRUCTION 



Reel 8. Smaller Rodents. 

Reel 9. Larger Rodents. 

Reel 10. The Prairie "Dog" and Beaver. 

Ungulates. 

Reel 11. Deer. 

Reel 12. Bovines, Sheep, Goats, and Antelopes. 
Reel 13. Miscellaneous Ungulates. 

Ungulates (continued). Proboscideans. 

Reel 14. Odd-toed Ungulates and Elephants. 
Reel 15. Bats, Insectivores, Edentates. 

Marsupials. 
Reel 16. Kangaroos and Opossums. 



Marsupials (continued). Monotremes. 
Reel 17. Miscellaneous Marsupials. 

BIRDS 

Various Orders in Each Reel. 

Reel 18. Perching Birds and Birds of Prey. 

Reel 19. Aquatic Birds. 

Reel 20. Miscellaneous Birds. 

Reel 21. Various Orders and Wingless Birds. 



REPTILES 

Serpents. 

Reel 22. The Viperine Serpents. 

Reel 23. Larger Serpents. 

Reel 24. New and Old World Harmless Serpents. 

Reel 25. Colubrine Poisonous Serpents. 



Lizards. 



Reel 26. 
Reel 27. 



New World Lizards. 
Old World Lizards. 



PURCHASE FILMS 

Chelonians, Croeodilians. 
Reel 28. Turtles and Tortoises. 



421 



AMPHIBIANS 

Tailless Amphibians. 
Reel 29. Frogs and Toads. 

Tailed Amphibians. 
Reel 30. Salamanders, Newts and Allies. 

INSECTS 

Neuroptera, Odonata and Homoptera. 

Reel 31. Life Histories. 

Hemiptera, Orthoptera. 

Reel 32. Insects that Sing; forms of Mimicry. 
Reel 33. Beetles; Butterflies and Moths. 

Lepidoptera (continued). 

Reel 34. Transformations of Butterflies and Moths. 
Reel 35. Larger Moths. 

Hymenoptera ; Diptera. 
Reel 36. Bees, Wasps, Ants and allies. 

Additional Arthropods. 

Reel 37. Millipedes, Centipedes, Scorpions and Tropical Spiders. 
Reel 38. North American Spiders. 

MARINE LIFE 



(Prepared and arranged under the direction of the scientific 
staff of the Marine Biological Station at Naples). 



422 MOTION PICTURES FOR INSTRUCTION 



Eeel 39. Planaria. Shell-less Mollusks. 

Reel 40. Fishes. 

Reel 41. Starfishes, Jelly fishes, Anemones. 

Reel 42. Crustaceans, including various species of crabs and lobsters. 

DeVRY educationals 

DeVry Corporation, 1111 Center St., Chicago, 111. 

(Mostly on Geography) 

The following DeVry Educational reels are available for 
purchase. They vary from 600 to 800 feet in length, and are 
sold at $65 per reel on non-inflammable stock. 

Teachers' leaflets are available for all DeVry Educationals. 

1. American Indians and Their Ancestors. 

Home life of the Winnebagos of the present day — doing the family 
laundry — making moccasins — sewing — hairdressing — an odd mixture of 
the modern and the primitive. Hopis of the Pueblo group doing the 
Buffalo Dance — ancient cave dwellers — the ruins of Mitla — the buried 
City of Mexico built before the time of the cave dwellers. 

2. The Life op the Lumberjack. 

Lumberjacks in crews in camp in the California forests — Chinese 
cook — rolling logs into the water — sawing and squaring up logs — plan- 
ing lumber — logging train crossing mountains and valleys — piling lum- 
ber on freight cars — hauling lumber by ox team — dam and power house 
at Lake Tahoe. 

3. Sponging for a Living. 

Unusual scenes of a little-known industry. 

4. Animal Round-up on Western Cattle Ranches. 

Cattle on the ranges in the Southwest — roping steers in the corral — 
branding — arrival at the stockyards — a Frontier Day meet — Miss Louise 
Thompson, champion cow girl, on a kangaroo — a bad horse — broncho 
busting. 

5. The Oil Industry. 

Boring a well. — putting in the casing — bringing in a gusher — capping 



p 



PURCHASE FILMS 



423 



the gusher — piping oil to tanks — escaping gas — an oil well on fire — 
derricks and pumps — a boom oil town. 

6. Eaising Cash by Raising Poultry. 

Embryology of a chick — hatching eggs by hen and by incubator — baby 
chicks — pictures of various breeds. 

7. Charming Girls and Busy Men op Japan. 

The Japanese school girl writes with a brush — ceremonies concerned 
with flowers constitute a regular course of study — training geisha 
girls — 'chrysanthemum exhibit — the lantern maker — the parasol maker 
— the shoemaker — the wood carver — a fisherman — the three wise mon- 
keys of the Iyeasu temple at Nikko. 

8. Fujiyama and Other Scenic Bits of Japan. 

Views of Mount Fujiyama, the sacred mountain of Japan — beautiful 
reflections in Lake Shoji and Motoso — Mount Asamayama, active vol- 
cano — Miyajima through the Torii — shooting the Fujikawa rapids — 
Kirifuri falls and gardens — rustic bridge in the country — Kameido, 
famous Wisteria Bridge — home life and cities of Japan. 

9. Japan at Work and Play. 

Dance of the geisha girls — jiu-jitsu — army setting-up exercises — 
the race track at Yokohama — raising rice in Japan — an ancient mill — 
a glimpse of the Ainus, the aborigines of Japan. 

10. Scenes in Panama. 

Map of the Panama Canal Zone — waterfront and street scenes — 
a Panama lottery drawing — cock fighting — natives pounding corn — 
washing clothes and children — 'native huts in the jungle — cocoanut palms 
and banana trees — traveling in a cayuca, native dug-out canoe — Panama 
school girls at play. 

11. The Panama Canal. 

General view showing the Pedro Miguel locks — cranes and shovels 
at work — the Culebra Cut — Pacific entrance to the Canal — Canal Zone 
fire department — Ancon Hospital and high school — sinking a caisson — 
negro laborers at work and play — convicts making roads — Hotel Wash- 
ington — the Gatun Locks — electric mules — dredges at work — the great 
Spillway at Gatun Dam — Admiral Dewey on a trip through the Canal 
Zone — scenes in Colon — ex-President Taft's trip through the Cfemal. 



424 MOTION PICTURES FOR INSTRUCTION 



12. Scenes in Peru, Bolivia, and Costa Rica. 

Governor's Palace at Lima — President's inaugural parade — Tihuanaeo 
Inca ruins — Lake Titcaca, the home of the ancient Peruvian civilization 
— Llamas — Peruvian Indians. Street scenes in La Paz. Bolivia — In- 
dian beasts of burden — views of San Jose, Costa Rica — the volcano, 
Asserri — bull carts — Costa Rican homes and women — troops — steam fire 
engines. 

13. Life in Siam and Tahiti. 

Scenes in Bangkok — wharves and market boats on the Menam River 
— quarrying coral rock to build a roadway in Tahiti — the upa-upa 
dance — Papeete natives in Sunday dress coming out of church — pony 
races and native boys racing — panorama of Papeete and ships at anchor. 

14. The Girl on Horseback Tours California. 

Seeing California on horseback — leaving the pony for a try at moun- 
tain sports in wintertime, such as skiing, tobogganing, and dog sledding 
— Monterey — the legend of the Monk of Mt. Rubidoux — at El Portal, the 
entrance to Yosemite — the Twin Brothers, Half Dome, and Mirror Lake. 

15. Picturesque California. 

The Golden Gate and a children's party in San Francisco — historic 
Monterey — Truckee Valley and Camp Fire Valley — Oakland — a Christ- 
mas celebration at Los Angeles — Murphy Dam near San Diego — San 
Elijo, reservoir site — San Dequito Dam — Lake Hodges Dam — Burbank's 
spineless cactus and a California orange grove. 

16. Glimpses of Foreign Cities of the World. 

Views of Cairo, Egypt — Canton, Pekin, and Shanghai in China — 
Tokio and Yokohama, Japan — Monte Carlo — Rome; Naples — Messina — 
Sicilian Cities — Papeete — Seoul, Corea — Jaipur, India. 

17. Historic Spots in Washington, D. C, and New York 
City. 

The Capitol Building — Congressional Library — colonial house where 
the Treaty of Ghent was signed — St. John's Church — house where Lin- 
coln died — City Hall Park in New York — the end of Brooklyn Bridge — 
Sub-Treasury on Wall Street and Trinity Church — panorama of Ellis 
Island — Brooklyn Bridge and subway. 

18. China and Corea. 

Temple sheep and Pagoda Temple — Manchu woman with elaborate 



PURCHASE FILMS 



425 



headdress — camels loaded for the trip across the Gobi desert — Shan Hai 
Quan, the end of the Great Wall of China — Chinese sampan — sailing 
up the Pearl River — Hongkong— Gates of Seoul — street scene from the 
window of a sedan chair — Street of the Pottery Merchants — Corean 
farmer plowing — harvesting rice by hand — rice merchant — Corean women 
dancing in the open air — a Corean festival. 

19. Egypt. 

The Street of the Weavers in Cairo — bazaar life — funeral procession 
through one of the bazaars — boats on the Nile — Upper Nile River and 
scenes of loading grain boats — Assuan Dam and Gates — Temple of 
Abydos and hieroglyphics on the walls — Bishareen dance — natives of 
the desert, a lion and lioness — sunset on the Libyan Desert. 

20. Primitive Industries. 

A Corean farmer plowing — Corean washwomen — Chinese blacksmiths 
— making soy in China — shepherds of Bethlehem — an Egyptian car- 
penter — plowing with a wooden plow and water buffalo in India — primi- 
tive Hindu grain mills — driving piles by hand in Japan — Japanese 
woman pearl divers — carrying wood and straw — wood carvers and shoe- 
makers at work — gathering seaweed — old-fashioned spinning wheel — 
Phillipine women weaving cloth, embroidering and making lace — weav- 
ing baskets — Phillipine natives carrying and sawing a log for building. 

21. Growing Wheat and Corn. 

Wheat: plowing with two horses and with several teams — plowing 
with a tractor — harrowing with a tractor — seeder drill — binding and 
threshing wheat — grain in an elevator. Corn : corn fields in different 
parts of the United States — cultivating corn — plucking ears of corn — 
the corn harvester. 

22. Life of the Bee. 

Comb showing cells — bee eggs — queen bee, workers and drone — bee 
farm or apiary — opening a hive, showing how the bees live — smoking 
the hive — bees working on the comb — artificial combs — removing a bee 
swarm from a tree branch — bee sting magnified — putting the swarm 
into the hive — building the comb — feeding the grubs — the maids of 
honor for the queen. 

23. Fruit Orchards — East and West. 

Young orange groves in Florida — close-ups of orange blossoms and 
fruit — pineapples, bananas, melons, and cocoanuts grown in Florida — 



426 MOTION PICTURES FOR INSTRUCTION 



peach orchards in Georgia — picking and packing peaches, a display of 
fruit — Southern watermelon fields — Michigan cherry orchards, berry 
farm and vineyard — an apple orchard in Michigan — an Idaho irrigated 
orchard — growing and picking pears — an irrigated orchard in Montana 
— cultivation of grapes in California — an orange grove and banana 
trees — California muskmellons. 

24. The Livestock Industry — Horses and Mules. 

Close-up of a horse's head — views of horses in barns and pastures 
in Montana and Alabama — horses on a Texas ranch — horses on exhibi- 
tion and at a horse-show — high-jumping on horseback — plowing wheat 
in Texas with several teams — mustang pony with twins nursing — bur- 
ros in a sheep drive near Phoenix — Indian beasts of burden — views of 
mules and colts in barnyards and pastures — pack trains in the moun- 
tains of the west. 

25. The Livestock Industry — Cattle, Sheep and Goats. 

Beef cattle of Texas on the range — champion shorthorns — milk cows 
in pasture — favorite breeds and types — modern dairy barns — a mechan- 
ical milker — a milking contest in California — a sheep drive near Phoenix. 
Arizona — sheep and lambs — shearing sheep, sheep in Australia — goat 
ranch — views of long-haired Angora goats — goats and kids playing. 

26. Pottery and Statuary. 

Pottery as an American industry — throwing a vase on a potter's 
wheel — making cast articles in molds — making statuettes — how an 
amphora is worked out — carving a statue. 

27. Italy, Gibraltar and Monte Carlo. 

Italian dances — the road from Castellammare to Sorrento — panorama 
of Sorrento — temples of Apollo, Diana, and Juno in Sicily — sunset on 
the Bay of Naples — panorama of the Rock of Gibraltar — panorama of 
Monte Carlo with a view of the prince's palace. 

28. Falls and Rapids. 

Niagara, Shoshone and Yosemite Falls — Minnehaha Falls — Kirifuri 
Falls of Japan — shooting the Fujikawa Rapids — rapids in swift moun- 
tain streams. 

29. American Sports. 

Flashes of football, basket ball, tennis, golf, and swimming — char- 
acteristic groups of the population engaged in typically American 
sports. 




The Antlers of the Elk Are Shed Each Spring. Scene from 
Ditmar's Living Natural History— -p. 419 



PURCHASE FILMS 



427 



30. Children of Many Nations. 

A children's fancy dress party — Boy Scouts in summer camps — young 
America at marbles — children with their pets—Pueblo woman and child 
— Sunday morning bath in Panama — another kind of bath in India — 
boy duck drivers in Java — Japanese children in California — feeding the 
temple doves in Japan — Igorot children — "Bye-bye, Papa.'' 

FORD EDUCATIONAL LIBRARY 

Order from the Ford Motion Picture Laboratories Detroit, Mich. 

(Mostly Geographical and Vocational) 

(The following Forty-five subjects are accompanied with Teachers' 
Leaflets and are sold at $50 per reel) 



Film No. Footage Subject 



3. 


684 


Grand Canyon of the Colorado. 


4. 


834 


Yosemite Valley. 


5. 


892 


Rocky Mountains. 


6. 


738 


Yellowstone Park. 


7. 


550 


Mount Rainier. 


8. 


769 


Niagara Falls. 


9. 


890 


Panama Canal. 


10. 


822 


Washington, D. C. 


11. 


560 


Democracy in Education. 


12. 


713 


Some of Uncle Sam's ^Workshops. 


13. 


954 


Iron and Steel. 


14. 


865 


Making a Rubber Tire. 


15. 


792 


Oyster and Shrimp Fishing. 


16. 


800 


Olives and Oranges. 


17. 


892 


The Honey Bee. 


18. 


792 


Milk as Food (See sample lesson given in Teachers' 






Leaflet, Chapter VIII). 


19. 


662 


The Banana. 


20. 


529 


The Date Palm. 


21. 


640 


Making Maple Sugar. 


22. 


703 


Mining Anthracite Coal. 


23. 


1193 


Brain Operation (Surgical). 


25. 


800 


Goitre Operation " 


29. 


847 


Meat Packing. 



428 MOTION PICTURES FOR INSTRUCTION 



30. 


691 


OaiLLlUil X 1 lo.LlJ.iltf. 


31. 


7QO 


VjcL L Lie JAd-ULH. 






XJULXlcr -D III Uclllls.. 


35. 


771 

fix 


ill LlUil. 


36. 


1001 


RnlnipH r»"f Wilrl Animnla 

iJaUica «J1 Willi xjLllllilt&lB. 


Of. 


1 UUt> 


J. lit; vdi uuiciur \6 reels/. 


39. 


718 


T^noViln Tnfliflnc 
xt UcUlU XlllllcHio. 


40. 


952 


it jicai cLiiu. i xuui • 


41. 


452 


Rior TVppq nf Oplifnrnifl 

JLrXhL JL1 CCO Ul VJtllllUiXllCv* 


42. 


671 


Water Supply of a Great City. 


44. 


870 


"\Tp-m VhtIt Oifv 

1>CW V_/ltj'. 


47. 


945 


Modprn Oil RoAninc 






XjUIIIUcI lllg 111 XXvlltll VY vUUOi 






Sugar. 


74- 


967 


X dUcl IVXcllVlllg . 


4 O. 




P. n q ri m ti fr L4 iHqq iyi^t* T ociinor 
l^ildil^liig xxlUeo 111LU l^crtLIlci. 


oU. 


om 
yui 


Pottery. 


82, 


945 


The Great Lakes. 


85. 


914 


Hawaiian Islands. 


89. 


879 


Mexico City. 


96. 


955 


Our Common Birds. 


100. 


1045 


New Orleans. 



1921 BELEASES 
$25.00 PER REEL 

Film No. Footage 



1. 


800 


In Fairyland. 


2. 


750 


The Message. 


3. 


700 


Democracy in Education. 


4. 


650 


In a Palace of Honey (Honey Industry). 


5. 


700 


Hurry Slowly (A Street Safety Picture). 


6. 


650 


Tropical Sons. 


7. 


700 


For Mexico. 


8. 


1590 


Iron and Steel, Part I. 


9. 




Iron and Steel, Part II. 


10. 


1000 


Presidents of the United States. 


11. 


700 


Where the Columbia River Rises. 



PURCHASE FILMS 



429 



12. 


950 


Grand Canyon. 


13. 


963 


Lumber Industry. 


14. 


700 


Nassau to Kingston. 


15. 


1910 


Landmarks of the American Revolution, Part I. 


1(6. 




Landmarks of the American Revolution, Part II. 


17. 


650 


Round-Up on the Bar-U (Cattle Ranch). 


18. 


725 


Yosemite Valley. 


19. 


800 


Old Mexico of Today (Mexico City). 


20. 


950 


Some of Uncle Sam's Workshops. 


21. 


600 


Clear to the Bottom (Silver Springs, Fla.). 


22. 


495 


Big Trees of California. 


23. 


700 


Kingston, Jamaica. 


24. 


650 


Something to Crow About (Poultry Industry). 


25. 


920 


Olive and Orange Growing. 


26. 


1000 


Dynamic Detroit. 


27. 


800 


Good for Thought (Dairy Industry). 


28. 


850 


Yellowstone National Park. 


29. 


850 


Sponging for a Living (Sponge Industry). 


30. 


700 


The Pride of Mexico (Guadalajara). 


31. 


1199 


Landmarks of Early Explorations and Settlements in 






North America, Part I. 


32. 


tf 


Landmarks of Early Explorations and Settlements in 






North America, Part II. 


33. 


800 


Civil War Period. 


34. 


650 


A Century of Progress, Part I. 


35. 


700 


A Century of Progress, Part II. 


36. 


800 


The Rocky Mountains, Part I. 


37. 


850 


The Rocky Mountains, Part II. 


38. 


800 


Industrial Working Conditions. 


39. 


750 


Niagara Falls. 


40. 


700 


Baltimore and the Oyster Industry. 


41. 


600 


Shrimp Fishing. 


42. 


700 


The Nation's Capital — Washington, D. C. 


43. 


650 


Knights of the Saddle — Agriculture. 


44. 


600 


Mt. Rainier — Regional Geography. 


45. 


700 


Safety in the Mine — Industrial Geography. 


46. 


850 


Fire Prevention. 


47. 


800 


"Oh, For the Life of a Fireman." 


48. 


750 


New York City. 


49. 


700 


Good "Bad Lands." 


50. 


750 


The Good Stream. 



430 MOTION PICTURES FOR INSTRUCTION 

51. 900 Journeys through the Valley of Heart's Delight. 

52. 1000 Playgrounds for the People in Valley of Hearti' 

Delight. 



1920 RELEASES 
$10.00 PER REEL 

Film No. Footage 



183. 


763 


Bubbles (Making Soap). 


184. 


725 


Just Kids (Making Gloves). 


185. 


750 


Taken with a Grain of Salt (Rock Salt Mining). 


186. 


775 


The Flowing Road (Evolution of a River). 


187. 


777 


De Light — Making an Electric Light Bulb. 


188. 


752 


In Higher Spheres (Mountain Scenic and Making 






Silk Hose). 


189. 


879 


Silverware. 


190. 


800 


Tick Tock (Making Watches and Clocks). 


191. 


800 


Broken Silence — A Visit to a Day School for Deaf 






Children. 


192. 


750 


With Every Meal — Dealing with Knives, Forks and 






Spoons. 


193. 


655 


The Alligator Hunt. 


194. 


500 


A Pilgrimage — Providence, Newport and Plymouth. 


195. 


600 


Cut and Dried (Activities of a Lumber Camp). 


196. 


800 


From East to West ( Making Wilton Rugs ) . 


197. 


525 


North Wind's Masonry (Winter Scenes of Niagara 






Falls). 


198. 


671 


Cherry Blossom Time (Japanese Festival — Rice 






Growing). 


199. 


750 


The Reawakening (Physical Reconstruction Work at 






Fort Sheridan). 


200. 


800 


See Saw (Making Saws). 


201. 


800 


Make Game (Making Sporting Goods). 


202. 


850 


Home of the Seminole (Seminole Indian Camps). 


203. 


777 


Playthings of Childhood (Making Toys). 


204. 


730 


To "Suit" Man (Making Clothing). 


205. 


625 


Chu Chu (Making Gum). 


206. 


750 


Wickerware (Making Wicker and Reed Furniture). 


207. 


700 


Little Comrades (Open Air School). 


209. 


750 


Water as Power. 




Camera Men of the Canadian Government Motion Picture Bu- 
reau. Ottawa, Canada — p. 436 




A Veritable "Slow Motion" Picture of a Glacier "in Action." 
Scene from "Leaves from a Ranger's Notebook," Motion Picture 
Bureau of Canadian Government — p. 436 



PURCHASE FILMS 



431 



210. 


650 


Just "Write" (Making Fountain Pens). 


211. 


700 


Current Occurrences (Making Electric Flat Irons and 






Percolators) . 


212. 


770 


Into the Big Cypress (Scenic). 


213. 


600 


Starting Life (Showing Young Life). 


214. 


850 


To Queen's Taste (Making Candy). 


215. 


605 


Aqua ( A City Water System ) . 


216. 


700 


Out of the Woods (Logging). 


217. 


750 


In for a Raise (Making Baking Powder & Macaroni). 


219. 


580 


Airistocracy (Bird Life). 


220. 


700 


In the Glory of the Past (San Antonio). 


221. 


650 


Between Friends (El Paso). 


222. 


700 


For the Future (Michigan State Industrial School). 


223. 


821 


The Way of the West (Prescott: Arizona, Frontier 






Days) . 


224. 


775 


Timberlust ( Reforestation ) . 


225. 


775 


What the Ocean "Hides" (The Shark Industry). 


226. 


671 


Nassau (Xassau, Bahama Islands). 


227. 


700 


In Arizona ( Scenic ) . 


228. 


800 


Number, Please (The Telephone). 


229. 


800 


The Banana (Banana Industry). 


230. 


672 


Happy Hours (National Sports). 


231. 


700 


Farm Boys Abroad (Texas Farm Boys' Special 






Tour ) . 


232. 


750 


The Wards of a Nation (Indian Convocation). 


233. 


630 


Ocean Tears (Ocean Salt Industry). 


234. 


855 


Christmas Thoughts (A Christmas Picture). 



Many of the reels in the Ford 1920 and 1921 lists are de- 
posited with Ford dealers in various cities for free loan to 
schools and similar organizations, and for these the dealers 
should be communicated with. The reels in the Ford Educa- 
tional Library, however, are for sale only, and should be 
ordered direct from Detroit. These latter are all accompanied 
by teachers' leaflets, which are of great help in presenting the 
films for teaching purposes. 

Mr. Beseler's Educational Library Catalog of Motion Pic- 
ture Films, as issued by The American Motion Picture Cor- 



432 MOTION PICTURES FOR INSTRUCTION 



poration, contains over five hundred excellent subjects in agri- 
culture, Americanization, aviation, biography, child welfare, 
education, forestry, health and hygiene, history, home eco- 
nomics, industries, juvenile, literature, science and travel, but 
they are printed on inflammable stock and too widely scattered 
for reliable listing. The ownership of the negatives is difficult 
to determine. The breaking up of this valuable library is a 
striking example of the financial difficulties encountered by 
all non-theatrical producers. 

Further information may be procured from Thos. A. 
Baskerville, Receiver, American Motion Picture Corporation, 
126 W. 46th St., N. Y The Apollo Film Co. of Newark, N. J., 
seems to have the greatest number of the prints, for both sale 
and rent. 

The Library of the Urban Popular Classics was announced 
to include educational subjects of more than a thousand reels 
in geography, nature study (science), industry, history and 
recreation. 

A large number of these have been issued, but unfortunately 
Mr. Urban 's production plans were interrupted by financial 
difficulties. The author 's efforts to trace the possession of the 
negatives, and to distinguish those already issued from those 
not yet produced have been unavailing. All he can say is that 
the Urban Popular Classics are of a very high order, and 
prints of them are scattered among a number of non-theatrical 
exchanges throughout the country. The best known of these 
reels are the Great American Author Series, several of which 
are included in the Film Libraries given in Chapter II. This 
series can be secured from Pictorial Clubs, Inc., 350 Madison 
Ave., New York City. Great American Statesmen is a 
companion series. The Urban Popular Classics are handled 
by the Spiro Film Corporation, Irvington-on-Hudson, 
N. Y. 



A SELECTED BIBLIOGRAPHY 



(Only recent books and pamphlets are mentioned) 

Barnes, Burton — Course of Study in Visual Education. 246 
pp., Board of Education Detroit, Mich. 1926. 
The latest and "best presentation of the subject. The Educational 
Screen says of it: "It should serve as a model of achievement to any 
other city that has not yet attained a systematic basis for this all- 
important phase of modern teaching." 

Dickinson, Sherman — Visual Education for Teachens of Agri- 
culture. 66 pp.. University of Missouri Bulletin, October 
10th, 1925. Vol. 26, No. 29. 

Dorris, Anna V. — The Visual Instruction in the Berkeley 
Schools. 112 pp., Educational Screen, Inc., Chicago, 
1923. 

A compendium of information relating to all types of visual aids, 
useful in school subjects with some hints on how to use the material. 
A valuable monograph. 

Ellis, Don C, and Thornborough, Laura — Motion Pictures on 
Education. 275 pp., Thomas Y. Crowell Company, New 
York, 1923. 

Discusses educational films and their use as well as practical informa- 
tion regarding motion picture projectors. One of the latest and best 
books on this subject. 

Freeman, Frank N. and collaborators — Visual Education. 
388 pp., University of Chicago Press, 1924. 
The most elaborate record on the experimental phases of the educa- 
tional motion pictures yet made; published with the aid of a grant 
from the Commonwealth Fund. Reports of experiments by McClusky, 
F.C.— James— Reeder— Hollis— Hoefer— Keith— McClusky, H.Y.— Rolfe 
— Shaw — Walker — Beglinger and Thomas. 

433 



434 MOTION PICTURES FOR INSTRUCTION 



Film Year Book for 1926 — Dannenberg, Joseph, Editor. 
864 pp., Film Daily, 1650 Broadway, New York City. 
Replete with information of the film industry, mostly pertaining to 
the theatrical phase, but including also much of interest to non-theatrical 
film users. The Who's Who of the film world. 

Hollis, A. P. — Visual Educational Departments in Educa- 
tional Institutions. 36 pp., Bureau of Education Bulle 
tin No. 8, 1924. 
A late statistical study of the organization and status of visual educa- 
tion in universities, colleges and the larger cities. 

Mar chant, Sir James (Editor) — The Cinema in Education. 

160 pp., George Allen & Unwin, Ltd., London, 1925. 
The most recent book on the subject. Recounts and analyzes an ex- 
periment in film lessons to groups of children at University College un- 
der the direction of S. J. F. Philpott, with Professor Charles Spearman, 
Ph.D., psychologist, and Professor Cyril Burt, as Associates. 

National Academy of Visual Instruction : Annual Proceedings, 
J. V. Ankeney, Sect'y- University of West Virginia, 
Morgantown, W. Va. 

Norman, H. W. — Visual Education. 30 pp., Bulletin of The 
Extension Division, Indiana University, Vol. 10, No. 8, 

1925. 

Edited from the point of view of a university center for the state- 
wide distribution of visual aids. 

Rathman; Carl G. — Visual Aids of the St. Louis Museum. 
36 pp., Bureau of Education Bulletin No. 39, 1924. 

Visual aids in general are discussed, but the emphasis is on the edu- 
cational exhibit as contained in and distributed by the Museum. 

Visual Instruction Association of America : Vols. 1, 2, and 3 
1924, 1925, 1926. 
Interesting and informative articles by well-known leaders in visual 
education. 

Weber, Joseph J. — "Comparative Effectiveness of Some Vis- 



A SELECTED BIBLIOGRAPHY 435 



ual Aids in Seventh Grade Instruction. 9 9 130 pp., Edu- 
cational Screen, Chicago, 1922. 
Accepted as a doctor's thesis by Columbia University. The first ex- 
tensive research published, using the controls and statistical methods of 
the modern university graduate school. It measures the effect of using 
motion pictures and other visual aids in various combinations and with 
parallel groups, principally in the seventh grade. 

Wythe, F. S. — Schedule of film lesson service. 

An elaborate schedule of educational films arranged to accompany 
typical courses of study in the ordinary American school systems. The 
course is outlined in great detail in three Teachers' Manuals for classes 
in citizenship, nature study and current events respectively. A thorough- 
going and constructive contribution to film pedagogy. The service is 
managed by the Neighborhood Motion Picture Service, Inc., 131 W. 
42nd St., New York City, and undertakes to take complete charge of 
visual education in a city school system, furnishing machines and opera- 
tors as well as films, according to the desires and equipment of the 
school system. The films are mostly those recommended in the three 
film libraries (Chapter II). 

Magazine 

Educational Screen, 5 S. Wabash Ave., Chicago, 111. (Sub- 
scription includes copy of "1001 Films.") 

IMPORTANT EDUCATIONAL FILM LISTS 

American Motion Picture Corporation (See General Vision 

Co., Successors). 

Atlas Educational Film Company, Oak Park, HI. 

Apollo Film Company, 286 Market Street, Newark, N. J. 

Henry Bollman, 19 W. 10th St., New York City. 

Bray Productions, Inc., 120 W. 42nd St., New York City. 

Beseler Education Film Corporation, 71 W. 23rd St., New 
York City. 



436 MOTION PICTURES FOR INSTRUCTION 

Bureau of Commercial Economics, 1108 16th St., N. W., Wash- 
ington, D. C. 

Burton Holmes Laboratories, 7510 N. Ashland Ave., Chi- 
cago, 111. 

The Canadian Government Motion Picture Bureau, Ottawa, 
Canada. 

Carter Cinema Producing Corp.. 1-476 Broadway, New York 
City. 

Castle Films, 268 Market Street, San Francisco, Calif. 

Community Motion Picture Service Inc., 46 W. 24th St., New 
York City. 

DeVry Corporation, 1111 Center Street, Chicago, 111. 

Edited Pictures System, Inc., 71 W. 23rd St., New York City. 

Raymond L. Ditmars, c/o The New York Zoological Society, 
Borough of Bronx, New York City. 

The Ford Motion Picture Laboratories, Detroit, Mich. 

The General Electric Company, Schenectady, New York. 

General Vision Company, 104 W. 42nd St., New York City. 

The Harcol Motion Picture Industries, 610 Baronne Street, 
New Orleans, La. 

Homestead Films, Inc., 732 S. Wabash Ave., Chicago, 111. 

Illinois Steel Company, Department of Safety and Relief, 
208 S. LaSalle Street, Chicago, 111. 

International Harvester Company, 606 S. Michigan Ave., 
Chicago, 111. 

George Kleine, 49 W. 45th St., New York City. 



A Fishing Drama. (1) On the Hcok. Scene from "A Fish and 
Bear Tale," Canadian Government Motion Picture Bureau — p. 436 




A Fishing Drama. (2) In the Basket. Scene from "A Fish and 
Bear Tale/' Canadian Government Motion Picture Bureau — p. 436 



A SELECTED BIBLIOGRAPHY 437 
Alexander Leggett, 1476 Broadway, New York City. 
National Health Council, 370 Seventh Ave., New York City. 
The National Cash Register Company, Dayton, Ohio. 

The National Board of Review of Motion Pictures, 70 Fifth 
Ave., New York City. 

Northern Pacific Railway Company, General Passenger De- 
partment, St. Paul, Minn. 

Neighborhood Motion Picture Service, Inc., 131 W. 42nd 

St., New York City. 
Pathe Exchange, Inc., Educational Department, 35 W. 45th 

St., New York City. 

Pictorial Clubs, Inc., 350 Madison Ave., New York City. 

Pilgrim Photo Play Exchange, 1150 S. Michigan Ave., 
Chicago 111. 

Portland Cement Association, 111 W. Washington Street, 
Chicago, 111. 

Rothacker Industrial Films, Inc. 7510 N. Ashland Ave., 
Chicago, 111. 

Rowland Rogers Studios, 71 W. 23rd St., New York City. 

Society for Visual Education, Inc., 327 S. LaSalle Street, 
Chicago, 111. 

Spiro Film Corporation, Irvington-on-Hudson, New York 
City. 

Visual Text Book Publishers, 212 W. 11th Street, Los Angeles, 
Calif. 

Western Electric Co., 120 W. 41st., New York City. 



438 MOTION PICTURES FOR INSTRUCTION 



Westinghouse Electric Mfg. Co., East Pittsburgh, Penna. 

Worcester Film Corporation, Worcester, Mass. 

Yale University Press Film Service, Yale University, New 
Haven, Conn. 

The Y. M. C. A. Motion Picture Bureau, 120 W. 41st St., New 
York City, and 1111 Center Street, Chicago, Illinois. 

Y. W. C. A. National Board, 600 Lexington Ave., New York 
City. 

United States Steel Corporation. 71 Broadway, New York 
City. 

FEDERAL GOVERNMENT 

U. S. Department of Agriculture, Washington, D. C. 

U. S. Reclamation Service, "Washington, D. C. 

U. S. Bureau of Mines, Experiment Station, Pittsburgh, Pa. 

U. S. Department of Labor — Women's Bureau and Children's 

Bureau, Washington, D. C. 
U. S. Public Health Service, Washington, D. C. 
U. S. Navy Department, Washington, D. C. 

Bulletins of Universities and Cities listed in Chapter VIII. 



APPENDIX 



Motion picture projectors, screens and accessories are not 
discussed in the body of this book. 

Portable Projectors 

For classroom teaching a portable projector is essential. 
Even if the school has already bought a big theater type ma- 
chine for permanent installation in an assembly room, the 
portable classroom projector is needed for showings in the 
several classrooms. A good reliable portable can be had, 
weighing only twenty-five pounds. As these are light enough 
to be carried easily by a teacher or pupil, and can be attached 
to any light socket in the room, they will be used ten times to 
every once of the big machines. With these machines and 
daylight screens, pictures of professional quality can be shown 
in only a semi-darkened room. 

A student or teacher can be taught in a half hour to operate 
these machines. The projectors should handle film of full 
standard professional size (35 millimeters) such as is used in 
theaters, so that the whole world of motion pictures may be 
available. Off-standard or narrow width machines are limited 
to the special films made of that size for those special ma- 
chines, or else special production prints from the standard 
negatives, and the illumination is insufficient for classrooms 
and assembly rooms. 

Up-to-date portable and semi-portable projectors are sup- 
plied with a stop-on-the-film shutter which, if the shutter is of 
the proper kind of glass, permits the teacher to stop on any 
picture for several minutes, without danger. Here we have 
combined the advantage of the stereopticon and the motion 
picture projector. This simple device has doubled the value 

439 



440 



APPENDIX 



of the motion picture machine in the school room and removes 
the last objection to its installation. 

A separate stereopticon is a necessity in any school having 
an organized system of visual instruction. 

Non-Inflammable Film 

Schools should purchase only non-inflammable film of stand- 
ard theater width (acetate of cellulose base). This should be 
stored in humidor cans to preserve its flexibility, or in humidi- 
fied vaults or containers. With this type of film there is no 
fire risk whatever involved, and no insurance permits are 
required. 

Motion Picture Cameras 

A motion picture camera using standard width film will be 
found a useful adjunct to motion picture equipment. It 
should not require a crank, as amateurs find it difficult to turn 
the crank of a heavy tripod camera with the proper uniform 
speed necessary to good photography. Heretofore, also, stand- 
ard motion picture cameras were too expensive for ordinary 
school use (they cost from $600 to $5,000) . Excellent cameras, 
however, capable of doing professional work are available now 
at about $150. As in the case of projectors, narrow width 
cameras should be avoided, as their pictures cannot be shown 
by ordinary projection machines. The pictures are also too 
small to magnify proportionately without grain effect on large 
screens, and the small size of the lens opening in sub-standard 
projectors reduces the illumination so that it is insufficient for 
standard brilliancy, except in the home or smaller classrooms. 



THE FILM PRAYER* 



I am celluloid, not steel ; god of the machine, have mercy. 
I front four great dangers whenever I travel the whirring 
wheels of the mechanism. 

Over the sprocket wheels, held tight by the idlers, I am 
forced by the motor's might. If a careless hand misthreads 
me, I have no alternative but to go to my death. If the 
springs at the aperture gate are too strong, all my splices pull 
apart. If the pull on the take-up reel is too violent, I am 
torn to shreds. If dirt collects in the aperture, my film of 
beauty is streaked and marred, and I must face my beholders 
— a thing ashamed and bespoiled. Please, if I break, fasten 
me with clips ; never with pins. Don't rewind me — my owner 
wants that privilege, so that he may examine me, heal my 
wounds, and send me rejuvenated upon a fresh mission. 

I travel many miles in iron cans. I am tossed on heavy 
trucks, sideways and upside down. Please see that my own 
paper band is wrapped snugly around me on the reel and 
fastened with a string, so that my first few coils do not slip 
loose in my shipping case, to be bruised and wounded beyond 
the power to heal. Put me in my own shipping case. Don't 
make me a law-breaker. The law requires a standard can, 
two address labels, and a yellow caution label. Scrape off all 
old labels so I will not go astray. 

Speed me on my way. Others are waiting to see me. The 
"next day" is the last day I should be held. Have a heart 

* Written by the author in 1920 for the Visual Instruction Service 
of the State College, Fargo, N. D. It has been widely used by film ex- 
changes. 

441 



442 



THE FILM PRAYER 



for the other fellow who is waiting, and for my owner who will 
get the blame. Don't humiliate me by sending me back with- 
out paying my passage and insuring me against loss or damage. 

I am a delicate ribbon of celluloid — misuse me and I dis- 
appoint thousands ; cherish me and I delight and instruct the 
world. 



INDEX 



Names of films are in italics. Only films mentioned in the body of 
the text of Part I are in this index. Films in the three libraries 
(Chapters II and III) are not separately indexed, as these libraries 
constitute their own index, being arranged alphabetically under each 
subject of study, in the three main groups of Free Films, Rental Films 
and Purchase Films. 

When looking up a film for a special subject of study, look in both 
Index, and in Part II. Films listed in Part I are not repeated in 
Part II. 

Films listed in Part II are not otherwise indexed, as Part II is itself 
an index, where the films are listed alphabetically in three groups: 
Free, Rental and Purchase. 



Abraham Lincoln, First National 

Pictures, Inc., 71. 
Abrams, W. W., 199. 
Adaptation of Films to Grades, 

160. 

Advertising Films, 5, 80. 

Agriculture Films, 25, 30. 

Aiton, Miss M. E., U. S. Govern- 
ment Films, 77, 114, 122. 

Americanization School, Film Les- 
sons for, 110, 156. 

American Red Cross, 15. 

* American in the Making, An, 73. 

American Ideals, Wythe, 73, 136. 

Animals, Films on, 74. 

Anatomy Films, University of Wis- 
consin, 5. 

Assembly Room Films, 6. 

Athletics, Films on, 26, 31, 35, 82. 

Barrows, Parker and, Picture 
Study in Geography Texts, 7. 
Basil, Switzerland, Conference on 



the Cinema in Education, 246, 
247. 

Bassett, Morton, 202. 

Beglinger, Nina Joy, 173. 

Bibliography for Films, 148. 

Boy Scout Films, 5. 

Bray Productions, Inc., Elements 
of the Automobile, etc., 5, 12. 

Bre'r Rabbit and His Pals (Ro- 
dents), 74; Sample Lesson, 
88. 

Budgets for Visual Instruction, 9, 
210. 

Burt, Professor Cyril, 191. 

California's Wonders, 85, 93. 

Call System of Distribution, Vis- 
ual Aids, 211. 

Cameras, Movie, Standard Width, 
13. 

Carnegie Trust, Grant to National 

Council, 191. 
Chapin, Benjamin, Abraham Lin- 



* Italics are for film titles referred to in the body of text only (Part 
I) . See Part II for main index of films. 

443 



444 



INDEX 



coin in Son of Democracy 
Films, 71. 

Chemistry, Films not appropriate 
for, 82, 84. 

Chronicles of American Photo- 
plays, Yale University Press, 
70. 

Cinema in Education, The, New 

English book edited by Sir 

James Marchant, 191. 
Circuit System of Distribution, 

Visual Aids, 211. 
Citizens in the Making, Wythe, 5, 

72, 85, 122, 136. 
Citizenship, Films on, 22, 28, 33, 

72. 

Cities, Ten, for Eastman Film Ex- 
periments, 13, 14. 

City, State and, Centers of Distri- 
bution for Educational Films, 
208. 

Civics, See Citizenship. 
Civil War Episodes, Dixie, 71. 
Commentary, Effect of, with Films, 
195. 

Committee on Visual Instruction, 
12. 

Comparative Effectiveness of Vis- 
ual Aids in Seventh Grade In- 
struction, Weber, 163. 

Comparison of Motion Picture 
Film with Other Visual Aids, 
Weber, 163; Freeman, 171; 
Cinema in Education, 191. 

Comprehensive Film List, See Part 
II of the Text. 

Continuity Film, 147. 

Correlated Material, in the Aiton 
Lessons, 155. 

Correlation of Films with Course 
of Study, 211. 

Corrective Gymnastics, 82. 

Courses of Study, Differences in, 
New York City; Columbus, 
Ohio; Omaha, Nebraska, 68. 



Courses of Visual Education in 

Colleges, etc., 212. 
Crandall, Ernest, 162. 
Curriculum, Three Film Libraries 

for, 7. 

Daylight Screen, 161. 

Department of Superintendence, 
National Education Associa- 
tion, The Eastman Offer, 13. 

Descriptive List of Films in the Li- 
braries, 37. 

DeVry, Film Negatives for Sale, 
12, 19, 160; Library of Film 
Negative, 19; Sample Lesson, 
93 ; Summer School of Visual 
Education, 237. 

Director of Visual Education, Du- 
ties, Qualifications and Sal- 
aries, 11, 209. 

Ditmars, R. L., The Four Seasons, 
75 ; Living Natural History, 
2, 156. 

Dixie, Yale Chronicles of America, 
71. 

Dramatic Films, of Doubtful Edu- 
cational Value, 77, 161. 

Eastman Film and Projector, Off- 
Standard (16 mm.), 13. 

Edison and Wells, quoted, 157. 

Educational Film Exchanges, Inc., 
a misnomer, 3. 

Educational Films, Types and Uses 
of, 3 ; Terminology, 3. 

Educational Screen, 1, 163, 174, 
229. 

Eighty Reel Library, 26, 59. 

Einstein Theory, 83. 

Elements of the Automobile, Bray 
Productions, Inc., 2. 

Ellis and Thornborough, Motion 
Pictures in Education, quota- 
tions from, 18, 78, 162, 249. 



INDEX 



445 



English Lessons with Films for 

Foreigners, 110, 184. 
Entertainment Films, not for 

schools, 222. 
Essays as Tests for Film Lessons, 

Cinema in Education, 193, 196. 
Evaluation and Distribution of 

Visual Aids, 210. 
Eve of the Revolution, The, Yale 

Chronicles of America, 70. 
Expenditures for Visual Aids, 209, 

212. 

Experiments with Films, Weber, 
163, et seq.; Freeman, 171, et 
seq.; Cinema in Education, 
191, et. seq. 

Extension Departments of Univer- 
sities Contain Visual Educa- 
tion Departments. 

Eye Concentration vs. Mind Con- 
centration, 158. 

Film: 

Abraham Lincoln, First National 
Pictures, Inc., 63, 71. 

Advertising, 5, 80, 81. 

Anatomy, University of Wiscon- 
sin, 5. 

Assembly Room, Type of (Gen- 
eral Education), 6. 

Classified as Text {Classroom ) , 
General Educational, Enter- 
tainment, 6. 

Comprehensive List of, Re- 
ferred to on pp. 8, 19, 69, 70, 
71, 75, 78, 80, 82 of Part I. 
Found in Part II. 

Continuity, 147. 

Correlations, Partial, p. 12. 

Educational, An Essentially New 
Product, 154. 

Exchanges, Addresses of, 37, 67. 

First National Pictures, Inc., 71. 

Fitting into Schedule, 16. 



Film {continued) : 

Follow-up Work with, 151. 
Ford Motor Company, 99, 148, 

149, 151. 
Fortv Reel Library of, 20-26, 

37-49. 

Four Seasons, The, Ditmars, 64, 
75. 

Frame, Definition of, 16. 

Free, Used as Substitutions, 20, 

35; in the Three Libraries, 45, 

56, 65. 

Fundamentals of Football, 
Rockne, 82. 

Grading of, 197-207. 

Having a Circus, 15. 

Inflammable and Non-inflam- 
mable, 37, 212, 224, 244. 

Length of, for Educational Pur- 
poses, 12, 19, 159. 

Lessons, Not ON the film, but 
WITH the film, 154. 

Lessons, Six Sample: Sample 
Film Lesson I, Pathe, Bre'r 
Rabbit and His Pals, 88-93; 
Sample Film Lesson II, De- 
Vry, Glimpses of California, 
93-99; Sample Film Lesson 
III, Ford Educational Library, 
Milk as Food, 99-110; Sample 
Film Lesson IV, Miss Aiton's 
Americanization Lesson, Un- 
cle Sam — World Champion 
Farmer, 110-122; Film Lesson 
V, F. S. Wythe, Immigration, 
122-136; Film Lesson VI, F. 
S. Wythe, American Ideals, 
136-145. 

Lesson Plan, Tentative, 146. 

Libraries, Three, For Courses of 
Study, 7, 8, 9, 10, 20, 26, 31. 

Made to Order, 160 

Methods of Using, 15, 146. 

Nanook of the North, 4. 



446 



INDEX 



Film {continued) : 

Negatives for Sale, 12, 19. 

Non-Theatrical Market for Edu- 
cational, 229, 230. 

Off-Standard, 13, 14. 

Pedagogy, Discussions of, 15, 
16, 17, 77, 79, 82, 85, 86, 87, 
146, 220. 

Presentations, vs. Oral, Weber, 
163; Freeman, 171; Cinema in 
Education, 191. 

Previews of, 11, 146, 153. 

Problems, Unsettled, 86. 

Production of Educational, 227. 

Propaganda, 5. 

Purchase, 18, 37, 50, 60, 226. 

Rental, 39, 51, 62, 241, 245. 

Rental, An Anomaly in Schools, 
226. 

Risks of Producing Educational, 
222. 

Second Showings, 10, 153, 158. 
Secrets of Life, Tolhurst, 64, 76. 
Short Lengths, 12, 19, 159, 160. 
Slides Matched against, Weber, 

163; Freeman, 171, Cinema in 

Education, 191. 
Standard and Off-Standard, 12, 

13. 

Starting in Life, 15. 
Stop-on-Film Shutter, 16. 
Subjects of Study in the Three 
Libraries of, Geography, 20, 

27, 32, 68, 69, 70; History, 22, 

28, 33, 70; Citizenship, 22, 28, 
33, 72 ; Nature Study-Biology, 
23, 29, 34, 74; Language and 
Literature, 24, 29, 34, 76; Vo- 
cational Subjects, 25, 30, 35, 
80; Physiology, Health and 
Welfare, 25, 30, 35, 81; Ath- 
letics, 26, 31, 35, 82. 

Synopses Necessary, 146. 
Teacher's Treatment of, 15. 



Final Summary and Interpreta- 
tions in "Visual Education," 
175. 

Freeman, Frank N., Cit., 15, 17, 
151, 157, 171-190. 

French National Committee on In- 
tellectual Cooperation under 
League of Nations, 247. 

General Educational Films, G. 
Generalizations in Film Pedagogv, 
154, 175. 

Geographv Films, 20, 27, 32, 68, 
69, 70. 

Golfing Form of Champion, 65. 
Goode, Professor J. P., 202. 
Gradation of Films, accomplished 

more by teacher than by films 

themselves, 14. 
Grammar and English, 76-79. 
G-reat American Authors, Charles 

Urban, 77. 
Green, Nelson L., quoted, 229-231. 
Grosvenor, Dr. Gilbert, 199. 
Gymnastics, Corrective, 51, 82. 

Hampton Institute, 77. 
Hanson, C. H., 199. 
Having a Circus, 15. 
Hays, Dudley Grant, 199. 
Health and Welfare films, 25, 30, 
35. 

Henderson, Archibald, 78. 

Herm, Charles F., Microscopic 
Studies, 5, 223. 

History Films, 22, 28, 33, 70. 

Hoefer, Caroline, 173. 

Hollis, A. P., Experiments in "Vis- 
ual Education," Freeman, 
172; Visual Education De- 
partments in Educational In- 
stitutions, Bulletin 1924 No. 
8, U. S. Bureau of Education, 
208. 



INDEX 



447 



How Life Begins, 75. 
Hunchback of Notre Dame, 78. 
Hygiene, 18, 22, 66. 

Immigration Films, 85, 122, 136. 
Important Studies, Three, 162. 
Industrial Films, 25, 30, 35, 80. 
Inflammable Films, 37, 212, 244. 
Informational Pictures, Score Card 

for, 197. 
Institute, Teachers', 233. 
International Harvester Company, 

5. 

Introductions, Oral, for Film Les- 
sons, 149. 

James, Haddon W., 172. 

J ones, Bobby, Golfing with, 65. 

Keith, Edna, 173. 

Kleine, George, 44, 210, 214. 

Language and Literature Films, 
24, 29, 34, 76. 

League of Nations, French Na- 
tional Committee, 247. Legal 
Restrictions on Use of Films 
and Projectors, 212. 

Lesson Plans for Films, 85, 146. 

Letter to Dad, A, 73. 

Libraries, Forty Reel, 20; Eighty 
Reel, 26 ; One-Hundred-and- 
Twenty Reel, 31. 

Lincoln, Abraham, First National 
Pictures, Inc., 71. 

Lincoln Cycle, The Son of Democ- 
racy, Benjamin Chapin, 71. 

Literature Films of doubtful value, 
77, 161. 

Literature and Language Films, 

24, 29, 34, 76. 
Living Natural History Series, 

Tolhurst, 76, 156. 
Los Angeles, Using Neighborhood 

Motion Picture Service Films, 

241. 



Low Cost of Neighborhood Motion 
Picture Service, 244. 

McClusky, F. Dean, 128, 147, 172, 
217^234. 

McClusky, H. Y., 172. 

McLean County Teachers' Insti- 
tute, 234. 

Made-to-order Films, 160. 

Marchant, Sir James, book by, 191. 

Mathematics, films not appropri- 
ate for, 82. 

Microscopic Studies, Charles F. 
Herm, 5, 223. 

Milk as Food, 85, 99. 

Montessori, 77, 79. 

Motion Picture, Projector, 11, 13; 
Camera, 13, 228. 

Motion Picture Projectors Sold, 
221. 

Motion Pictures Not Limited to 

Action Scenes, 16. 
Motion Pictures Superior within 

narrow range, 159. 
Moulders of Manhood, 73. 
Movies the Wrong Instrument, 79. 
Museums Distributing Visual Aids 

to Schools, 217. 

Nanook of the North, 4. 

National Academy of Visual In- 
struction, 221. 

National Cash Register Company 
Films, 36. 

National Council (Cinema in Edu- 
cation), 191. 

National Education Association, 
Eastman Offer to, 13; Free- 
man Report to, 173; Commit- 
tee on Visual Education, 13. 

National Health Council, 5. 

Nature Study, Biology Films, 23, 
29, 34, 61, 64, 74. 

Negative Catalogs, Bray, DeVry, 
12. 



448 



INDEX 



Neighborhood Motion Picture Serv- 
ice, Inc., 72, 122, 241. 

Non-inflammable film, 37, 244. 

Non-Theatrical Motion Picture 
Machines, 221. 

Off-Standard, 13, 14. 
Omaha, Nebraska, Course of Study, 
54. 

One-Hundred-and-Twenty Reel Li- 
brary, 31. 

Oral Introductions for Film Les- 
sons, 149. 

Our Children, 73. 

Parallel Film and Slide Lessons, 

Weber, 163; Freeman, 171; 

Cinema in Education, 191. 
Paris, Motion Picture Conference, 

auspices League of Nations, 

246-247. 

Parker, Edith Putnam, Geography, 
4; Series of Texts, 199. 

Part II, references to, in Part I, 
8, 19, 35, 69, 70, 71, 75, 76, 
78, 80, 82, 84, 224. 

Pathe, Educational Department, 
223; Grantland Rice's Sport- 
lights, 82; Screen Studies, 42, 
43, 74, 85, 88; Weekly News, 
73. 

Pedagogy of Film Lessons, 86, 146, 
162. 

Philpott, S. F. J., Psychological 

Investigator, 191. 
Physics, Films not appropriate for, 

82. 

Pictures, Trivial Use of, 7. 

Plan, Tentative, for a Motion Pic- 
ture Lesson, 146. 

Plans for Film Lessons, 85. 

Portable Motion Picture Machines 
for Standard Width Films, 13. 

Preview of Film by Teacher, 11, 
146, 153. 



Problems, Unsettled, 86. 

Production of Educational Films, 
The, 227. 

Professional Status of Visual Edu- 
cation Officers, 208. 

Project Work, in Wythe Lessons, 
154. 

Projector, Portable, Operation, vs. 

Heavy Theater Machines, 11. 
Propaganda Films, 5. 
Purchase of Films by Schools, 18, 

19, 37, 50, 60, 226. 

Reeder, E. H., 172. 

Reel Library, forty reel unit, 20; 
eighty reel unit, 26; one- 
hundred-and-twenty reel unit. 
31. 

Reels, Free, Rental, Purchase, 9. 

References or Bibliography in Film 
Lesson Plan, 148. 

Refinements in Mathematical Com- 
putations Deceptive, 86. 

Reflected Light, Screens, 134. 

Relation of Films to Great Litera- 
ture, 77. 

Relative Effectiveness of Verbal 
and Visual Instruction, W^eber, 
163; Freeman, 171; Cinema in 
Education, 191. 

Rental, 39, 51, 62, 241, 245. 

Rental Film, An Anomaly in 
Schools, The, 226. 

Repeat Showings of Films in Film 
Lesson Plan, 151. 

Restraint in Use of Motion Pic- 
tures, 157. 

Rice, Grantland, Sportlights, 
Pathe, 82. 

Risks of Educational Film Produc- 
tion, The, 222. 

Rockefeller Foundation, Educa- 
tional Films, 229, 231. 

Rockne, Coach, reel, Fundamentals 
of Football, 67, 82. 



INDEX 



449 



Rolfe, E. C, 172. 

Romance of the Republic Series, 
63, 73. 

Roosevelt, The Real, 54; Series, 
new reels, 54. 

Safety Film, 37, 244. 
Sample Film Lessons, 85. 
Sandburg, Carl, Chicago Daily 

News, 3. 
Schools of Visual Education, 209. 
Schools for Deaf, Use of Film, 

77. 

Schools Should Purchase Films, 
18. 

Score Card, for Informational Pic- 
tures, 197; for Motion Pic- 
tures, Weber, 206. 

Screen, Daylight, 161. 

Screen Studies, Pathe, 42, 43, 74, 
85, 88. 

Second Showing of film, 10, 153, 
158. 

Secrets of Life, Tolhurst, 64, 76. 

Self -Activity of Pupils, 151. 

Semi-Dramatic Productions, 6. 

Shaw, Bernard, 78. 

Shaw, Lena A., 172. 

Shepherd, J. W., Thesis University 
of Wisconsin, 162. 

Short Length Films, 12, 19, 157. 

Six Sample Film Lessons, 85. 

Slides, One to a Lesson, 158; Key- 
stone View Company, 600; 
Sets, 159; Use of, 17. 

Society of Motion Picture Engi- 
neers, 13. 

Society of Visual Education, firm 
for production and sale of edu- 
cational films and projectors, 
53, 62. 

Son of Democracy, The, 53. 
Spearman, Professor Charles, book, 
191. 

Sportlights, Grantland Rice, 82. 



Standard Width, Films, 13; Cam- 
eras, 12, 13; Projectors, 13. 

State and City Centers of Distri- 
bution for Educational Films, 
208. 

State Laws and Regulations, 212. 
Steps Toward American Ideals, 85, 
136. 

Stereographs, 159. 

Stereopticon, Use of, 17. 

Stills, Sometimes Valuable in Mo- 
tion Pictures, 16, 17. 

Stone, George E., How Life Be- 
gins, 75; Article, 229. 

Stop-on-Film Shutter, 16. 

Studies, Three Important, on Value 
and Use of Educational Films, 
162. 

Studio Equipment at University of 
Nebraska and at U. S. De- 
partment of Agriculture, 228. 

Suggestive Questions in Film Les- 
son Plan, 148. 

Summer School of Visual Educa- 
tion DeVrv Corporation, 237, 
240. 

Supplementary Facts, Statement 

of, in Film Lesson Plan, 147. 
Synopses, Film, Necessary, 146. 

Talking with Film, in Film Lesson 
Plan, 149. 

Teachers' Institutes and Visual 
Education, McLean County, Il- 
linois, 233. 

Teachers' Manuals, Neighborhood 
Motion Picture Service, 122, 
136, 244. 

Teachers' Treatment of Film, 14. 

Teachers' Use of Films, 14, 79, 146. 

Teaching English to Foreigners 
with Films, 110, 184. 

Tentative Film Lesson Plan, 146. 

Tests for Pupils after Film Les- 
sons, 153; Various Ones Used, 



450 



INDEX 



Weber, 163, et seq.; Freeman, 
171, et seq.; Cinema in Edu- 
cation, 191, et seq. 

Three Important Studies, 162. 

Time Allotment for Film Showings, 
159. 

Titles, with Stereopticon, 17. 

Tolhurst, Secrets of Life, 64, 76. 

Training Teachers for Visual Ed- 
ucation, 233. 

Trivial Use of Pictures, 7. 

Tuskegee Institute, 77. 

Twentieth Century Pilgrims, Im- 
migration, 85, 122. 

Uncle Sam, The World Champion 
Farmer, 85, 114. 

U. S. Bureau of Education, Bul- 
letin, 1924, No. 8, on Visual 
Educational Departments in 
Educational Institutions, 208. 

U. S. Department of Agriculture, 
58, 110, 228. 

U. S. Labor Bureau, Our Children, 
58. 

Universities Distributing Films, 
208. 

University College, London, 191. 
University of Wisconsin, 2, 209. 
Unsettled Problems, 86. 
Urban, Charles, Great American 

Authors, 77. 
Urban-Kineto Company, 223. 

Verbal Instruction, Contrasted 
with Visual, Weber, 165, et 
seq.; Freeman, 171, et seq.; 
Cinema in Education, 191, et 
seq.. 

Visual Aids, Evaluation and Dis- 
tribution, 210. 



"Visual Education," Professor 
Freeman's Volumne, 10, 171. 

Visual Education, College Credit 
in, 208; Committee of Na- 
tional Education Association, 
13; Departments in Edu- 
cational Institutions, 208; Vi- 
sual Education, Ltd., London, 
152, 245, 246; Organization 
and Plans, 9, 11; Director, 11, 
27. 

Visual Instruction Association of 

America, 221. 
Visual Instruction Handbook, 163. 
Vocabulary Building with Films, 

114. 

Vocational Subjects, Films on, 25, 
30, 35, 80. 

Walker, D. E., 172. 

Weber, Dr. Joseph J., 84, 122; 
"Comparative Effectiveness of 
Visual Aids in Seventh Grade 
Instruction," 163; Score Card, 
206. 

Welfare and Health, Films, 25, 30, 

35. 

Wells, quoted, 157. 

Wythe's, Citizens in the Making, 
2; Immigration, 1, 122; Amer- 
ican Ideals, 136; Neighbor- 
hood Motion Picture Service, 
241. 

Yale University Press, Photo- 
Plays, 70, 71; Dixie, 52; Eve 
of the Revolution, 42. 

Y. M. C. A., Motion Picture Bu- 
reau of National Council, Dis- 
tribution of Free Films, 20, 46, 
54, 58, 59, 65, 67. 

Y. W. C. A. Films, 5. 



1927 



LIBRARY OF CONGRESS 




007 244 827 3 



